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MUSEUM of DREAMWORLDS

MUSEUM of DREAMWORLDS

Silent Antiquity Films in the BFI National Archive

Bibliography for all items on this website

Abel, R. (1994) The Ciné Goes to Town: French Cinema, 1896-1914. Berkeley/ Los Angeles: University of California Press.

Abel, R. (ed.) (2004) Encyclopedia of Early Cinema. London/ New York: Routledge

Abel, R., & Altman, R. (eds.) (2001). The Sounds of Early Cinema. Bloomington: Indiana University Press.

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Adriaensens, V. (2015) 'The Sculptor’s Dream: Tableaux Vivants and Living Statues in the Films of Méliès and Saturn', Early Popular Visual Culture, 13(1), pp. 41-65.

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Adriaensens, V. (2018) ‘Ovidian Violence: Georges Méliès’s Explosive Screen Bodies’, in Marina Dahlquist et al. (eds.), Corporeality in Early Cinema: Viscera, Skin, and Physical Form. Bloomington: Indiana University Press, pp. 27-33.

Adriaensens, V. and Jacobs, S. (2017) ‘The Sculptor’s Dream: Living Sculptures in Early Cinema’, in Steven Jacobs et al. (eds.), Screening Statues: Sculpture and Cinema. Edinburgh: Edinburgh University Press, pp. 29-45.

Agbamu, S. (2024) Restorations of Empire in Africa: Ancient Rome and Modern Italy’s African Colonies. Oxford: Oxford University Press.

Aldrete, G. S. (2004) Daily Life in the Roman City: Rome, Pompeii and Ostia. Westport, CT: Greenwood Press.

Allen, J. K. (2022) Screening Europe in Australasia: Transnational Silent Film Before and After the Rise of Hollywood. Exeter: University of Exeter Press.

Alovisio, S. (2005) Voci nel silenzio. La sceneggiatura nel cinema muto italiano.Turin/ Milan: Museo Nazionale del Cinema/ Il Castoro.

Alovisio, S. (2013) ‘The “Pastrone System”: Itala Film from the Origins to World War I’, in Bertellini, G. (ed.) Italian Silent Cinema: A Reader. New Barnet: John Libbey, pp. 87–96.

Alovisio, S. (2014) Cabiria (Giovanni Pastrone, 1914). Lo spettacolo della storia. Milan/ Udine: Mimesis.

Arcangeli, M. (2024) Quel braccio alzato. Storia del saluto “romano”, Rome: Castelvecchi

Arthurs, J. (2012) Excavating Modernity: The Roman Past in Fascist Italy. Ithaca, NY: Cornell University Press.

Aruz, J., Graff, S.B. and Rakic, Y. (eds.) (2014) Assyria to Iberia: At the Dawn of the Classical Age. New York: Metropolitan Museum of Art.

Atacan, A. (2016) Rethinking the House in a Roman Context from the Perspective of Film Studies. ART-SANAT, Histart ’15 Special Issue, pp. 19–30. Istanbul: Istanbul University Press. Available at: https://avesis.metu.edu.tr/publication/details/bfaa5c15-a1d3-461d-b254-975e89e682b9/rethinking-the-house-in-roman-context-from-the-perspective-of-film-studies

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Atacan, A., (2020). Between Image and Moving Image: Representations of Pompeii in Illustrated Books and Silent Films of 19th and Early 20th Century, PhD in Architectural History, Ankara: METU, https://open.metu.edu.tr/handle/11511/45705

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Aubert, N. (2009) Un cinéma d’après l’antique: Du culte de l'Antiquité au nationalisme italien. Paris: Editions L'Harmattan. 

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Auerbach, J. (2007) Body Shots: Early Cinema’s Incarnations. Berkeley/ Los Angeles: University of California Press.

Aumont, J. (1989) L’oeil interminable: cinéma et peinture. Paris: Librairie Séguier.

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Bakker, G. (2008) Entertainment Industrialized: The Emergence of the International Film Industry, 1890-1940. Cambridge: Cambridge University Press.

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Ball, L. (2003) The Domus Aurea and the Roman Architectural Revolution. Cambridge: Cambridge University Press.

Ball, L. (2020) 'Domus Aurea', Oxford Classical Dictionary. Oxford: Oxford University Press. Retrieved December 18, 2024, from https://oxfordre.com/classics/view/10.1093/acrefore/9780199381135.001.0001/acrefore-9780199381135-e-2283.

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Banda, D., & Moure, J. (eds.) (2008) Le cinéma, naissance d’un art: premiers écrits (1895-1920). Paris: Flammarion.

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Barr, C. (1997) 'Before Blackmail: Silent British cinema', in Murphy, R. (ed.). The British Cinema Book, London: BFI, pp. 5–16.

Barta, T. (ed.) (1998) Screening the Past : Film and the Representation of History, Westport, Conn.: Praeger.

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Bastide, B. and Gili, J. A. (eds.) (2003) Léonce Perret. Association Française de Recherche sur l’Histoire du Cinéma/ Cineteca di Bologna.

Baudrillard, J. (1994) Simulacra and Simulation. Ann Arbor: University of Michigan Press.

Beard, M. (2010) Pompeii: The Life of a Roman Town. London: Profile Books.

Beard, M. (2013) 'Taste and the Antique: Visiting Pompeii in the Nineteenth Century', in C. C., Mattusch (ed.). Rediscovering the Ancient World on the Bay of Naples, 1710-1890.  New Haven, CT/ London: Yale University Press, pp. 205-228.

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Bergmann, B. (1994) 'The Roman House as Memory Theatre: The House of the Tragic Poet in Pompeii', The Art Bulletin, 76(2), pp. 225-256.

Bernard, Y. (1993) L’Éclipse : l’histoire d’une maison de production et de distribution cinématographique en France de 1906 à 1923. Thèse de doctorat, Université Paris VIII.

Bernardini, A. and Martinelli,V. (1994) Il cinema muto italiano. I film degli anni d'oro, 1913. Vol. II. Rome: Centro Sperimentale di Cinematografia/ La Nuova ERI.

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Bernardini, A. (1981) Cinema muto italiano: Industria e organizzazione dello spettacolo 1905-1909. Bari, Laterza.

Bernardini, A. (1996). Il cinema muto italiano, 1905-1909. Rome: Centro Sperimentale di Cinematografia/La Nuova ERI.

Bernardini, A. (2002) Cinema muto italiano. I film “dal vero”, 1895-1914, Gemona, La Cineteca del Friuli.

Bernardini, A. (2015) Le imprese di produzione del cinema muto italiano. Bologna: Persiani.

Bernardini, A. and Martinelli, V., (1995) Il cinema muto italiano. 1911. Vol. 1. Rome: Centro Sperimentale di Cinematografia/ La Nuova ERI.

Bertellini, G. (2006) ‘Cabiria e gli Stati Uniti’, in Alovisio, S. and Barbara, A. (eds.) Cabiria & Cabiria. Milano: Il Castoro, pp. 174–180.

Bertellini, G. (2010) Italy in Early American Cinema: Race, Landscape, and the Picturesque. Bloomington: Indiana University Press.

Bertellini, G. (ed.) (2013) Italian Silent Cinema: A Reader. New Barnet: John Libbey.

Bertetto, P. and Rondolino, G. (eds.) (1998) Cabiria e il suo tempo. Milan: Il Castoro.

Berthomé, J. (2011), 'Les décorateurs de cinéma en France', 1895, 65(65), pp. 90-111. DOI: 10.4000/1895.4437.

Billiani, F. (2021) 'Agon 3: Architecture and the Arts in the Public Domain', Fascist Modernism in Italy: Arts and Regimes. London: I.B. Tauris, pp. 109–154. DOI: http://dx.doi.org/10.5040/9781788317603.ch-3

Biltereyst, D., Maltby, R. and Meers, P. (eds.) (2012) Cinema, Audiences and Modernity: New Perspectives on European Cinema History. London: Routledge. 

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Biltereyst, D. & Slugan, M. (eds.) (2021) New Perspectives on Early Cinema History: Concepts, Approaches, Audiences. London/ New York: Bloomsbury Academic.

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Blanshard, A. J. L. (2015) ‘The Erotic Eye: Cinema, Classicism, and the Sexual Subject’, in Ingleheart, J. (ed.), Ancient Rome and the Construction of Modern Homosexual Identities. Oxford: Oxford University Press, pp. 253-270.

Blom, I. (2003) Jean Desmet and the Early Dutch Film Trade. Amsterdam: Amsterdam University Press.

Blom, I. (2013) ‘Of Artists and Models. Italian Silent Cinema between Narrative Convention and Artistic Practice’, Acta Universitatis Sapientiae: Film and Media Studies 7, pp. 97-110. DOI: 10.2478/ausfm-2014-0017

Blom, I. (2016) 'The Second Life of Alma-Tadema', in Prettejohn, E., & Trippi, P. (eds.), Lawrence Alma-Tadema: At Home in Antiquity. Munich: Prestel, pp. 187–199.

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Blom, I. (2018) Reframing Luchino Visconti: Film and Art. Leiden: Sidestone Press.

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Blom, I. (2021) ‘Histoire’, in: Dominique Païni, Paul Perrin, Marie Robert (eds.), Enfin le cinéma ! Art, images et spectacles en France, 1833-1907. Paris: Réunion des Musées Nationaux/ Grand Palais, pp. 114-117.

Blom, I. (2021) 'Picturesque Pictures: Italian Early Non-Fiction within Modern Aesthetic Visions', Acta Universitatis Sapientiae: Film & Media Studies, 19, pp. 49-65. DOI: 10.2478/ausfm-2021-0004

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Blom, I. (2022) ‘The Pictorial Turn: Intervisuality and Recycling in Fabiola (Enrico Guazzoni, 1918)’. In Blos-Jáni, M. et al. (eds) Intermedial Encounters: Studies in Honour of Agnes Pethö/Intermediális találkozások: Tanulmányok Pethő Ágnes tiszteletére. Cluj-Napoca/Kolozsvár: Scientia Kiadó, pp. 125-136. https://research.vu.nl/en/publications/the-pictorial-turn-intervisuality-and-recycling-in-fabiola-enrico/

Blom, I. (2023) Quo vadis?, Cabiria and the ‘Archaeologists’: Early Italian Cinema’s Appropriation of Art and Archaeology. Turin: Kaplan.

Blomfield, R.T. (1934) Modernismus. London: Macmillan and Co..

Blot-Wellens, C. (2022) Physical Characteristics of Early Films as Aids to Identification. New Expanded Edition. Bloomington: Indiana University Press.

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Boëthius, A. (1960) The Golden House of Nero: Some Aspects of Roman Architecture. Ann Arbor: University of Michigan Press.

Bogdanovna Larionova, N. (2021). 'Transformation of the Legend about the Image of Phidias and Pericles on the Shield of Athena Parthenos by Plutarch and Other Ancient Authors', Manuscript, October, 14 (11), pp. 2308-2312. In Russian, with English abstract.

Bomgardner, D. L. (2013) The Story of the Roman Amphitheatre. London: Routledge.

Bousquet, H. (1993). Catalogue Pathé des années 1896 à 1914, Vol. 1907-1909, Bures-sur-Yvette: Edition Henri Bousquet.

Bowser, E. (1990) The Transformation of Cinema: 1907–1915. Berkeley: University of California Press. Series The History of American Cinema, Vol. II.

Braun, M., et al. (eds.) (2012) Beyond the Screen: Institutions, Networks, and Publics of Early Cinema. New Barnet: John Libbey.

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Brewster, B. (1992) ‘Deep Staging in French Films, 1900–1914’, in Elsaesser, T., Barker A. (ed.) Early Cinema: Space – Frame – Narrative. London: BFI Publishing, pp. 45–55.

Brewster, B., & Jacobs, L. (1997) Theatre to Cinema: Stage Pictorialism and the Early Feature Film. Oxford: Oxford University Press.

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Brown, J., & Davison, A. (2012) The Sounds of the Silents in Britain. New York: Oxford University Press.

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Brunetta, G. P. (2001) Storia del cinema italiano. Il cinema muto, Roma: Editori riuniti. Third ed.

Brunetta, G. P. (2003) Guida alla storia del cinema italiano: 1905-2003. Torino, Einaudi.

Bruno, G. (1997) 'City Views: The Voyage of Film Images', in Clarke, D. B. (ed.), The Cinematic City. London: Routledge, pp. 46-58.

Buchanan, J. (2009) Shakespeare on Silent Film: An Excellent Dumb Discourse. Cambridge: Cambridge University Press.

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Buchanan, J. (2011) ‘Shakespeare and Silent Film’, in Burnett, M.T., Streete, A. and Wray, R. (eds.) The Edinburgh Companion to Shakespeare and the Arts. Edinburgh: Edinburgh University Press, pp. 467–483. 

Bulwer-Lytton, E. (1850) The Last Days of Pompeii. Rahway, N.J.: The Mershon Company. Second edition, first edition was 1834.

Burke, P. (2001) Eyewitnessing: The Uses of Images as Historical Evidence. London: Reaktion Books.

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Burrows, J. (2003) Legitimate Cinema: Theatre Stars in Silent British Films, 1908-1918. Exeter: University of Exeter Press.

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Burton, A. (2005) The British Consumer Co-operative Movement and Film, 1890s-1960s. Manchester: Manchester University Press.

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Callahan, V. (2005) Zones of Anxiety: Movement, Musidora, and the Crime Serials of Louis Feuillade. Detroit: Wayne State University Press.

Camerini, Claudio (1983). ‘La formazione artistica degli attori del cinema muto italiano’, Bianco e nero, 44, 1, Jan./March 1983:43.

Campbell, L. (1989) 'A Call to Order: The Rome Prize and Early Twentieth-Century British Architecture', Architectural History, 32, pp.131-151.

Canosa, M. (2024) Catalogo AIRSC - Associazione Italiana per le Ricerche di Storia del Cinema:

https://www.airsc.org/wp-content/uploads/2024/09/Film-identificati.pdf;

https://www.airsc.org/wp-content/uploads/2024/09/Film-da-id-o-incerti.pdf

 

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Cantarutti, S., Champy-Vinas, C. et al. (2023) Catalogue Sarah Bernhardt: Et la femme créa la star. Paris: Petit Palais, Musée des Beaux-Arts de la Ville de Paris.

Caprotti, F. (2009) 'Scipio Africanus: Film, Internal Colonization and Empire'. Cultural Geographies, 16(3), pp. 381-401. 

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Caranti, C. (2006) ‘Cabiria 1914 & 1931: la distribuzione in Italia e nel mondo’, in Alovisio, S. and Barbera, A. (eds.) Cabiria & Cabiria. Turin/Milan: Museo Nazionale del Cinema/ Il Castoro, pp. 148-173.

Carlà, F., & Goltz, A. (2015) 'The Late Antique City in Movies', in M. G., Morcillo, P., Hanesworth, & Ó. L., Marchena (eds.), Imagining Ancient Cities on Film: From Babylon to Cinecittà. New York/ Abingdon: Routledge, pp. 202-226.

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Cecchini, L.M. (2022) Baroquemania: Italian Visual Culture and the Construction of National Identity, 1898–1945 (1st ed.). Manchester: Manchester University Press. DOI: https://doi.org/10.2307/j.ctv29mvt4n.

Cere, R. (2020) An International Study of Film Museums. London: Routledge. 

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Champomier, E. (2018) ‘Éclipse, la face cachée de l’histoire du cinéma’, Hypothèses, upload 26-04-2018, https://cine0819.hypotheses.org/167

‘ La fondation et l’installation de la société Éclipse’, Hypothèses, upload 17-05-2018,  https://cine0819.hypotheses.org/189

Christie, I. (2005) ‘Set design’, in Abel, R. (ed.) Encyclopedia of Early Cinema. London/ New York: Routledge, pp. 584-587.

Christie, I. (2012) 'Introduction: In Search of Audiences', in idem (ed.). Audiences: Defining and Researching Screen Entertainment Reception. Amsterdam: Amsterdam University Press, pp. 11-22. 

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Christie, I. (2013) 'Ancient Rome in London: Classical Subjects in the Forefront of Cinema’s Expansion After 1910', in P., Michelakis & M., Wyke (eds.), The Ancient World in Silent Cinema. Cambridge: Cambridge University Press, pp. 109-124.

Cilliers, L. (2019) ‘Cherchez la femme: Three Infamous Poisoners of Ancient Rome’, in P. Wexler (ed), Toxicology in Antiquity. London: Academic Press, pp. 313-26. Second edition.

Coates, V.C.G., Lapatin, K.D. and Seydl, J.L. (eds.) (2012) The Last Days of Pompeii: Decadence, Apocalypse, Resurrection. Los Angeles: Getty Publications.

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Cohen, A. and Kangas, S.E. (eds.) (2010) Assyrian Reliefs from the Palace of Ashurnasirpal II: A Cultural Biography. Hanover, N.H.: Hood Museum of Art/University Press of New England.

Cooke, P., & Stone, R. (eds.) (2016) Screening European Heritage: Creating and Consuming History on Film. London: Palgrave Macmillan.

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Cooley, A. E. & Cooley, M. G. L. (2013) Pompeii and Herculaneum: A Sourcebook. London: Routledge.

Corbusier, L. (1923) Towards a New Architecture. London: John Rodker.

Cosandey, R. (1993). Welcome Home, Joye! Film um 1910. Aus der Sammlung Joseph Joye (London). KINtop Schriften 1. Basel: Stadtkino; Basel/ Frankfurt: Stroemfeld/Roter Stern.

 

 

Cosandey, R., Gaudreault, A., & Gunning, T. (eds.) (1992) Une invention du diable? Cinéma des premiers temps et religion. Sainte-Foy, Québec: Presses de l'Université Laval.

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Cracolici, S. (2018) ‘Fabiola in cartolina: un percorso a ritroso da Guazzoni a Kanzler’, in I. Foletti, M. Gianandrea, S. Romano, & E. Scirocco (eds.), Re-thinking, Re-making, Re-living Christian origins, Lausanne: Viella, pp. 253-279.

Crivelli, S. F. (2023) 'The Spectacle of the Moon Conquest: How Visual Culture Shaped Méliès’ Le voyage dans la Lune and its Anti-imperialist Satire', Early Popular Visual Culture, 21(4), pp. 407–433. DOI https://doi-org.vu-nl.idm.oclc.org/10.1080/17460654.2023.2206008.

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Curtis, S., et al. (eds.) (2018) The Image in Early Cinema: Form and Material. Bloomington: Indiana University Press.

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D'Hautcourt, A. (2006). ‘Peinture ou théâtre? Louis Feuillade, Héliogabale et le cinéma français en 1911’, The Review of Inquiry and Research, 84,‎ pp. 107-123.

D’Osvaldo, C. (1992) ‘Cinema muto Italiano e la critica inglese’, in: V. Martinelli (ed.), Cinema italiano in Europa, 1907-1929. Rome: AIRSC, pp. 75–81.

Dagna, S. (2012) ‘La diva in cammino. La sfilata divistica come figura delle messinscena nel cinema di Mario Caserini’, Immagine, 5, pp. 57-85.

Dahlquist, M., Galili, D., Olsson, J. and Robert, V. (eds.) (2018) Corporeality in Early Cinema. Bloomington: Indiana University Press.

Davison, C.C., and Lundgreen, B.(2009) Pheidias: The Sculptures and Ancient Sources. Bulletin of the Institute of Classical Studies Supplement 105. London: Institute of Classical Studies. Edited by G.B. Waywell.

De Albentiis, E. & Foglia, A. (2009) Secrets of Pompeii: Everyday Life in Ancient Rome. Los Angeles: J. Paul Getty Museum.

De Berti, Raffaele, Giorgio Bertellini (2000), ‘Milano Films: The Exemplary History of a Film Company of the 1910s’, Film History, 3, 2000, pp. 276-287.

DeJean, J. (1989) Fictions of Sappho: 1546–1937. Chicago: University of Chicago Press. 

 

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Deonna, W. (1920) ‘Le portrait de Phidias sur le bouclier de l’Athéna Parthénos’, Revue des Études Grecques, 33 (153),‎ July-September 1920, pp. 291-308.

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Drerup, E. (1910) Omero. Le origini della civiltà ellenica. Bergamo: Istituto Italiano d’Arti Grafiche.

Du Forez, R.S. (1910) ‘Salon des Femmes Peintres et Sculpteurs’, Parigina, 16, 25 March, p. 57.

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Dumont, H. (2009) L’Antiquité au cinéma: vérités, légendes et manipulations. Paris: Nouveau Monde.

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Dunbabin, K.M.D. (2005) The Roman Banquet: Images of Conviviality. Cambridge: Cambridge University Press.

Eco, U. (2012) The Infinity of Lists. London: MacLehose Press.

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Ede, L. N. (2010) British Film Design: A History. London: I.B. Tauris.

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Ehrmann, J. (1986). Antoine Caron : peintre des fêtes et des massacres, Paris, Flammarion

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Ekstein, N. (2010) ‘Rotrou’s Bélisaire: Hierarchy and Meaning’, Papers on French Seventeenth Century Literature, 37(73), pp. 439–453.

Elley, D. (1984) The Epic Film: Myth and History. London: Routledge & Kegan Paul.

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Elliott, K. (2003) Rethinking the Novel/Film Debate. Cambridge: Cambridge University Press.

Éloy, M. (2005) ‘Néron, une icône satanique’, in Joucaviel, K. (ed.) Quo Vadis? Contexte historique, littéraire et artistique de l’oeuvre de Henryk Sienkiewicz. Toulouse: Presses Universitaires du Mirail, pp. 65-120.

Elsaesser, T. (2005) European Cinema: Face to Face with Hollywood. Amsterdam: Amsterdam University Press.

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Elsaesser, T., & Barker, A. (Eds.). (2019) Early Cinema: Space, Frame, Narrative. London: Bloomsbury Publishing. E-book version of the 1990 paper version, edited by BFI.

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Engelen, L., Midkiff DeBauche, L. and Hammond, M. (2015) ‘“Snapshots”: Local Cinema Cultures in the Great War’, Historical Journal of Film, Radio and Television, 35(4), pp. 631–655.

Ercole, P. (2012) ‘“Little Italy on the Brink”: The Italian Diaspora and the Distribution of Films in London, 1914–18’, in Biltereyst, D., Maltby, R. and Meers, P. (eds.) Cinema, Audiences and Modernity: New Perspectives on European Cinema History. London: Routledge, pp. 154–165.

Erish, A.A. (2021) Vitagraph: America’s First Great Motion Picture Studio. Lexington, KY: University Press of Kentucky, pp. 58–110.

Etlin, R.A. (1991) Modernism in Italian Architecture, 1890–1940. Cambridge, MA: MIT Press,.

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Fantoni, G. (2015) 'A Very Long Engagement: The Use of Cinematic Texts in Historical Research', in M. C., Jennie & M., Fearghal (eds.), Film, History and Memory, London: Palgrave MacMillan, pp. 18-31.

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Farnetti, P. B., & Novelli, C. D. (eds.) (2017) Images of Colonialism and Decolonisation in the Italian Media. Newcastle upon Tyne, UK: Cambridge Scholars Publishing.

 

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Filonik, J. (2013) ‘Athenian Impiety Trials: A Reappraisal’, Dike 16. 16, pp. 26–33. doi:10.13130/1128-8221/4290.

 

Fletcher, A. and Yumibe, J. (2013) ‘From nitrate to digital archive: The Davide Turconi project’, The Moving Image: The Journal of the Association of Moving Image Archivists, 13(1), pp. 1–32. https://doi.org/10.5749/movingimage.13.1.0001

Förster, A. (2017) Women in the Silent Cinema: Histories of Fame and Fate. Amsterdam: Amsterdam University Press.

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Fossati, G., et al. (2018) ‘Preservation, Restoration, Presentation, and Policy’, in: G. Fossati et.al. (eds.), The Colour Fantastic: Chromatic Worlds of Silent Cinema. Amsterdam: Amsterdam University Press, pp. 261–271.

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Fossati, G. (2018) From Grain to Pixel: The Archival Life of Film in Transition. Amsterdam: Amsterdam University Press.

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Frenz, H. (1999) Literature, 1901–1967, Vol. 1. Singapore: World Scientific.

Gagetti, E. (2007) ‘Omero e la decima musa: Le mura di Troia’, in: Iconografia 2006: Gli eroi di Omero. Rome: Quasar, pp. 269–279.

Gailleurd, C. (2026) Rome dans le cinéma muet italien : paysages et monuments (1896-1930). Inédit d’habilitation à diriger des recherches, Université Paris 8 (6 February 2026, Galerie Colbert, INHA).

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Gaines, J., & Herzog, C. (1990) Fabrications: Costume and the Female Body. New York: Routledge. 

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Galassi-Paluzzi, C. (1926) 'La romanità e il romanticismo di G.B. Piranesi',  Rivista di studi e vita romana, 4, pp. 365–371.

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Gaudreault, A. (1987) ‘Theatricality, Narrativity, and Trickality: Reevaluating the Cinema of Georges Méliès’, Journal of Popular Film and Television 15(3), pp. 110-119.

Gaudreault, A. (2022). ‘Animated Pictures According to Georges Méliès: A Sober and Unpretentious Remediation, Or When Méliès Took a Stand Against - the Cinema!’, in Mario Slugan and Daniël Biltereyst (eds.), New Perspectives on Early Cinema History: Concepts, Approaches, Audiences. London: Bloomsbury Academic, pp. 21-40.

Gaudreault, A. & Marion, P. (2023) La fin du cinéma?: La résilience du cinéma à l'ère du numérique. 2nd revised and expanded ed.. Paris: Armand Colin, series Cinéma / Arts Visuels. https://www.dunod.com/lettres-et-arts/fin-du-cinema-resilience-du-cinema-ere-du-numerique.

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Gell, W. (1832) Pompeiana: The Topography, Edifices, and Ornaments of Pompeii. 2nd ed. London: Jennings and Chaplin.

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Genaitay, S., & Dixon, B. (2010) 'Early Colour Film Restoration at the BFI National Archive'. Journal of British Cinema and Television, 7(1), pp. 131–146.

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Gignac, M. (2023). ‘Le fonds Dalmouth ou le Film d'Art au second degré’, 1895. Revue d'histoire du cinéma, 99, pp. 32-57.

Gili, J. A. (1999) ‘La fascination du mal: Néron, antihéros du péplum’, Positif, 456, pp. 90-93.

 

 

 

Goldhill, S. (2011) Victorian Culture and Classical Antiquity: Art, Opera, Fiction, and the Proclamation of Modernity. Princeton: Princeton University Press.

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Goldhill, S. (2012) A Writer's Things: Edward Bulwer Lytton and the Archaeological Gaze; or, What's in a Skull?, Representations 119 (1), pp. 92-118.

Goldstein, L. (1979) ‘The Impact of Pompeii on the Literary imagination’, The Centennial Review, 23(3), pp. 227–241.

Gorski, G.J. and Packer, J.E. (2015) The Roman Forum: A Reconstruction and Architectural Guide. Cambridge: Cambridge University Press. https://assets.cambridge.org/97805211/92446/frontmatter/9780521192446_frontmatter.pdf

Grant, M. (1971) Cities of Vesuvius: Pompeii and Herculaneum. London: Weidenfeld and Nicolson.

Graves, R. (1938/1947). Count Belisarius. London: Cassell. 

Grimm, B. (2016) Tableaus im Film - Film als Tableau. Der italienische Stummfilm und Bildtraditionen des 19. Jahrhunderts. Paderborn: Fink. 

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  • Analyses:

Guardiola, R.R. (2015) ‘“It Is Like Soho, Only Bigger”: Doctor Who and Modern Interpretations of Pompeii’, in: M.G. Morcillo, P. Hanesworth & Ó.L. Marchena (eds.), Imagining Ancient Cities on Film: From Babylon to Cinecittà. New York/ Abingdon: Routledge, pp. 184–201.

Guynn, W. (2006) Writing History in Film. London: Routledge.

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Hallett, J. P. (1982) 'Beloved Cleïs', Quaderni Urbinati di Cultura Classica, 10, pp. 21–31.

Hammond, M. (2006) The Big Show: British Cinema Culture in the Great War, 1914-1918. Exeter: Exeter University Press.

Hammond, M. (2023) ‘Cinema and theatre in the Great War’, in Brooks, H.E.M. and Hammond, M. (eds.) The Cambridge Companion to British Theatre of the First World War. Cambridge: Cambridge University Press, pp. 144-159.

Hansen, M. (1991) Babel & Babylon: Spectatorship in American Silent Film. Cambridge, MA: Harvard University Press.

Hardwick, L., & Harrison, S. (eds.) (2013) Classics in the Modern World: A Democratic Turn? Oxford: Oxford University Press.

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Hartnett, J. (2017) The Roman Street: Urban Life and Society in Pompeii, Herculaneum, and Rome. New York: Cambridge University Press.

Harwood, E. (2015) England's Schools: History, Architecture and Adaptation. [ London]: Historic England. https://historicengland.org.uk/images-books/publications/englands-schools

Haslem, W. (2019) From Méliès to New Media: Spectral Projections. Bristol: Intellect.

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Hennefeld, M., Horak, L., & Rongen-Kaynakçi, E. (2021) 'Gender and the Nasty Women of History'. Early Popular Visual Culture, 19(4), pp. 392–413.

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Higashi, S. (1994) Cecil B. DeMille and American Culture: The Silent Era. Chicago: University of Chicago Press.

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Hill, J. (ed.) (2019) A Companion to British and Irish Cinema. Newark, NJ: John Wiley & Sons.

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Houssais, L. (2013) Georges-Antoine Rochegrosse. Les fastes de la décadence. Moulins: Musée Anne de Beaujeu/Éditions mare & martin.

 

 

Houston, P. (1994) Keepers of the Frame: The Film Archives. London: British Film Institute (BFI).

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Hughes-Warrington, M. (2007) History Goes to the Movies: Studying History on Film. London: Routledge.

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Hughes, I. (2009) Belisarius: The Last Roman General. Yardley, PA: Westholme.

Icks, M. (2024) ‘The Crimes and Vices of Elagabalus: Building Blocks for a Character Assassination’, Classica et Christiana, 19 (2), pp. 659-675.

Ingravalle, G. (2022) 'Indian or British Film Heritage'. Journal of Cinema and Media Studies, 61(2), pp. 63-87. 

 

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Isaac, B. (2013). The Invention of Racism in Classical Antiquity. Princeton, NJ: Princeton University Press

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Jacobs, L. (1939) The Rise of the American Film: A Critical History. New York: Harcourt, Brace and Company.

Jacobs, S. (2011) Framing Pictures: Film and the Visual Arts. Edinburgh: Edinburgh University Press.

 

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Jacobs, S. et.al. (2017) Screening Statues: Sculpture in Film. Edinburgh: Edinburgh University Press.

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James, P. (2011). Ovid’s Myth of Pygmalion on Screen: In Pursuit of the Perfect Woman. London: Continuum.

Jenkyns, R. (1995) ‘Late Antiquity in English Novels of the Nineteenth Century’, Arion, 3(2/3), pp. 141–166.

Kaes, A. (2009) Shell Shock Cinema: Weimar Culture and the Wounds of War. Princeton, NJ: Princeton University Press.

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Kallis, A. (2014) 'Fascism and Romanità: Framing the Ancient Imperial City', The Third Rome, 1922–1943: The Making of the Fascist Capital. London: Palgrave Macmillan, pp. 73-105. 

Kaufmann, C. (1997) ‘Au commencement, il y a l’image. Journal de la restauration (1)’, Cinémathèque, 11 (Spring), p. 106-115.

Keil, C. (2009) ‘1913: Movies and the Beginning of a New Era’, in Keil, C. and Singer, B., American Cinema of the 1910s: Themes and Variations. New Brunswick, NJ: Rutgers University Press.

Kirk, T. (2006) 'Piranesi’s Poetic License: His Influence on Modern Italian Architecture', Memoirs of the American Academy in Rome.. Supplementary Volume, 4, pp. 239–274.

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Kivilo, M. (2021) ‘Sappho's Lives’, in Finglass, P. J.; Kelly, Adrian (eds.). The Cambridge Companion to Sappho. Cambridge: Cambridge University Press, pp. 11-21.

Klein, S. W. & Moses, M. V. (2021)  A Modernist Cinema: Film Art from 1914 to 1941. New York: Oxford University Press.

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Klenotic, J. (2022)  ‘“Big” and “Little” Quo vadis? in the United States, 1913–1916: Using GIS to Map Rival Modes of Feature Cinema During the Transitional Era’, Images: The International Journal of European Film, Performing Arts and Audiovisual Communication, 32(41), pp. 5–25.

Kornhaber, D. (2020) Silent Film: A Very Short Introduction. New York: Oxford University Press. 

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Kostof, S. (1985) A History of Architecture: Settings and Rituals. New York: Oxford University Press.

Krämer, P. (1992) ‘Screen Sermons: The Uses of Religion in Early Cinema After 1907’, in Cosandey, R., Gaudreault, A. and Gunning, T. (eds.), Une Invention du Diable? Cinéma des Premiers Temps et Religion. Lausanne: Presses de l’Université Laval, pp. 187-196.

Kuhn, A. (1988) Cinema, Censorship and Sexuality: 1909-1925. London/New York: Routledge.

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Lanfossi, C. (2019) ‘Ghosting Agrippina: Genealogies of Performance in Italian Baroque Opera’, The Journal of Musicology, 36 (1), pp. 1-38.

Lant, Antonia (1997). ‘The Curse of the Pharaoh, or How Cinema Contracted Egyptomania’, in: Matthew Bernstein & Gaylyn Studlar eds., Visions of the East: Orientalism in Film, London: I.B. Taurin, pp. 69-98. This text originally appeared in the journal October, 59, Winter 1992, pp. 87-112.

Lasi, G. (2009) ‘Patrizia e schiava. A hundred years ago: The films of 1909’, catalogue Cinema Ritrovato 2009, Bologna, Cineteca di Bologna, s.p. https://ilcinemaritrovato.it/en/film/patrizia-e-schiava/

Lasi, G. (2012) La produzione cinematografica nel sistema economico-industriale italiano tra il 1908 e il 1914. Il caso della Milano Films. Doctoral thesis, Università di Bologna, 

https://amsdottorato.unibo.it/view/dottorati/DOT319/.

 

Lasi, G., Davide G. (2007) ‘”Inferno”. Grandioso Film d’Arte della Milano Films’, Cinegrafie, 20, 2007, pp. 313-330.

Latsis, D., & Ingravalle, G. (2017) 'Guest Editors' Foreword: Digital Humanities and/in Film Archives', The Moving Image, 17(2), xi-xv.

 

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Lazer, E. (2009) Resurrecting Pompeii. London/ New York: Routledge.

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Le Pape, Y. (2021) 'De la peinture au péplum. L’anticomanie du second xixe siècle et son héritage à l’écran', Cinémas, 29(3), pp. 147-172.

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Le Roy, E. (2012).  ‘Filmographie’, in: Gili, J.A., LeRoy, E. (eds.), Albert Capellani, de Vincennes à Fort Lee, 1895 - Revue d'histoire du cinéma, 68. Paris : AFRHC, pp. 241-276.

Le Roy E., et.al. (2008). ‘Le film d'Art & les films d'art en Europe (1908-1911). Filmographie’, 1895. Revue d'histoire du cinéma, 56, 2008, pp. 341-360.

Leach, A. (2015) 'Considering the Baroque', Journal of the Society of Architectural Historians, 74(3), pp. 285–288. DOI: https://doi.org/10.1525/jsah.2015.74.3.285

Lehmbeck, L. (2021). ‘Sculpture’, in Dominique Païni, Paul Perrin, Marie Robert (eds.), Enfin le cinéma ! Art, images et spectacles en France, 1833-1907. Paris : Réunion des Musées Nationaux – Grand Palais, pp. 242-247.

Leipen, N. (1971) “Athena Parthenos”: A Reconstruction. Toronto: Royal Ontario Museum.

Lewinsky, M. (2008). ‘La Vestale’, catalogue Cinema Ritrovato, Bologna, s.p. https://ilcinemaritrovato.it/en/film/la-vestale/

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Lidov, J. (2011) ‘The Meter and Metrical Style of the New Poem’. Classics@. 4, online edition of March 11, 2011.

Lieb, M., Mason, E., & Roberts, J. (2011) The Oxford Handbook of the Reception History of the Bible. Oxford: Oxford University Press.

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Lindvall, T. (2001) The Silents of the Gods: Selected Issues and Documents in Silent American Film and Religion, 1908-1925. Lanham, MD: Scarecrow Press.

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Llewellyn-Jones, L. (2022) Designs on the Past: How Hollywood Created the Ancient World. Edinburgh: Edinburgh University Press.

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Lombard, J. (1888/ 2002) L’Agonie. Paris: Séquier. Series ‘La Bibliothèque Décadente’. With facsimile of the Auguste Leroux illustrations.

Lübbren, N. (2023) Narrative Painting in Nineteenth Century Europe. Manchester: Manchester University Press.

Lundgreen, B. (1997) ‘A Methodological Enquiry: The Great Bronze Athena by Pheidias’, Journal of Hellenic Studies, 117, pp. 190–197.

Luzzi, J. (2020) Italian Cinema: From the Silent Screen to the Digital Image. London: Bloomsbury Publishing.

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Lyons, C. L., Papadopoulos, J. K., Stewart, L. S., & Maszak, A. S. (eds.) (2005), Antiquity and Photography: Early Views of Ancient Mediterranean Sites. Los Angeles: J. Paul Getty Museum.

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MacDonald, W. L. (1982) The Architecture of the Roman Empire. New Haven, CT: Yale University Press.

Macintosh, F. (2010) The Ancient Dancer in the Modern World: Responses to Greek and Roman Dance. Oxford: Oxford University Press.

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Malik, S. (2020) The Nero-Antichrist: Founding and Fashioning a Paradigm. Cambridge: Cambridge University Press.

Maltby, R., Biltereyst, D., & Meers, P. (eds.) (2011) Explorations in New Cinema History: Approaches and Case Studies. Malden: Wiley-Blackwell.

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Mandelli, E. (2019) The Museum as a Cinematic Space: The Display of Moving Images in Exhibitions. Edinburgh: Edinburgh University Press.

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Mannoni, L. (2000) The Great Art of Light and Shadow: Archaeology of the Cinema. Exeter: University of Exeter Press. Original French edition 1995.

Mannoni, L. (2005) ‘Éclipse’, in Abel, R. (ed.) Encyclopedia of Early Cinema. New York: Routledge, p. 199.

Manuwald, G. (2013) Nero in Opera: Librettos as Transformations of Ancient Sources, Berlin: De Gruyter.

Marcuzzi, S. (2020) Britain and Italy in the Era of the Great War. Cambridge: Cambridge University Press.

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Martinelli, V. (1993) Il cinema muto italiano, 1914. I film degli anni d’oro. Vol. II. Bianco e Nero. Rome: Centro Sperimentale di Cinematografia/ La Nuova ERI.

Mayer, D. (1994) Playing Out the Empire: Ben-Hur and Other Toga Plays and Films, 1883-1908. Oxford: Oxford University Press.

 

Mayer, D. (2020) 'Quo vadis on the Stage', in M. Woźniak, and M. Wyke (eds.), The Novel of Neronian Rome and its Multimedial Transformations. Sienkiewicz’s Quo vadis. Oxford: Oxford University Press, pp. 107–122. https://doi.org/10.1093/oso/9780198867531.003.0007.

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McKernan, L. (2010) ‘James Joyce and the Volta Programme’ & ‘Volta Filmography’, in John McCourt (ed.), Roll Away the Reel World: James Joyce and Cinema. Cork: Cork University Press: 15-27, 187-204.

Michelakis, P. (2013) Greek Tragedy on Screen. Oxford: Oxford University Press.

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  • Analyses:

Michelakis, P. (2017) ‘Greece and Rome on screen: On the possibilities and promises of the new medium’, in Pomeroy, A. J., (ed.), A Companion to Ancient Greece and Rome on Screen. Malden: John Wiley & Sons, pp. 15-35.

Michelakis, P. (2020) Classics and Media Theory. Oxford: Oxford University Press.

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Michelakis, P., & Wyke, M. (eds.) (2013) The Ancient World in Silent Cinema. Cambridge: Cambridge University Press.

Minoprio, A. (1932) 'A Restoration of the Basilica of Constantine', Papers of the British School at Rome, 12, pp.1-25.

Mitchell, L. (2003) Bulwer Lytton: The Rise and Fall of a Victorian Man of Letters. London: Bloomsbury Publishing.

Monk, C., & Sargeant, A. (2015) British Historical Cinema. London/New York: Routledge.

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Montericcio, M. (1994). ‘Il concorso cinematografico di Milano del 1909’, in Raffaele De Berti, Elena Mosconi (eds.), Il cinema delle origini a Milano, 1895-1920. Comunicazioni sociali, July-December 1994, 3-4(16), pp. 423-429.

Morazzoni, G. (1921) Giovan Battista Piranesi, Architetto ed Incisore (1720–1778): Cento Tavole e Notizie Biografiche Edite. Rome: Alfieri & Lacroix.

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Morcillo, M.G., Hanesworth, P. and Marchena, Ó.L. (eds.) (2015) Imagining Ancient Cities in Film. New York/ Abingdon: Routledge.

Mori, J. (2010) The Culture of Diplomacy: Britain in Europe, c. 1750-1830. Manchester: Manchester University Press.

Morley, N. (2009) Antiquity and Modernity. Oxford: Oxford University Press.

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Murray, O. (1994) Sympotica: A Symposium on the Symposion. Oxford: Clarendon.

Musk, A. (2024). A Meridional manifestation: Déodat de Séverac’s and Emile Sicard’s Héliogabale as produced at Béziers. Cambridge; University of Cambridge. Varian Symposium, Trinity College.

Musser, C. (1994) The Emergence of Cinema: The American Screen to 1907. Berkeley/ Los Angeles/ London: University of California Press.

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Nagib, L. and Jerslev, A. (eds.) (2014) Impure Cinema: Intermedial and Intercultural Approaches to Film. London: I.B. Tauris.

Napper, L. (2017) Silent Cinema: Before the Pictures Got Small. New York: Columbia University Press.

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Nead, L. (2007) The Haunted Gallery: Painting, Photography, Film c.1900, New Haven, CT/ London: Yale University Press. 

Neale, S. (1985) Cinema and Technology: Image, Sound, Colour. London: Palgrave Macmillan.

Neale, S. (2018) Silent Features: The Development of Silent Feature Films, 1914-1934. Exeter: University of Exeter Press.

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North, J. A. (2015) Martyrs on the Silver Screen: Early Church Martyrdom in Italian Silent Cinema (1898-1930). Doctoral thesis, Durham University,

https://etheses.durham.ac.uk/id/eprint/11728/.

 

Nicoloso, P. (2022) Mussolini, Architect: Propaganda and Urban Landscape in Fascist Italy (1st ed.). Toronto: University of Toronto Press.

Nowell-Smith, G. (ed.). (1996) The Oxford History of World Cinema. Oxford: Oxford University Press.

Osvaldo, C. (1982) ‘Cinema muto italiano e la critica inglese (1909-1914)’, in Martinelli, V. (ed.) Cinema italiano in Europa (1907-1929). Rome: AIRSC, pp. 75–82.

Özgenel, L. & Atacan, A. (2023) 'Hareketli İmajlar-Sessiz Anlatılar: Erken Dönem Sinemasında Antik Kent ve Mekân Temsilleri', in: C.A. Güzer (ed.), Sinema ve Mimarlık. Ankara: FOL, pp. 221–270. https://www.folkitap.com/doc/258

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Païni, D. (2021), ‘Le hasard demeure le voile à soulever’, in Dominique Païni, Paul Perrin, Marie Robert (eds.), Enfin le cinéma ! Art, images et spectacles en France, 1833-1907 (Paris : Réunion des Musées Nationaux – Grand Palais), pp. 15-19.

Painter, B.W. (2005) Mussolini’s Rome: Rebuilding the Eternal City. London: Palgrave Macmillan.

Parnell, D.A. (2023) Belisarius and Antonina: Love and War in the Age of Justinian. Oxford: Oxford University Press.

Pearson, R. (Ed.) (2006) The Victorians and the Ancient World: Archaeology and Classicism in Nineteenth-Century Culture. Cambridge: Cambridge University Press.

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Penz, F., & Thomas, M. (eds.) (1997) Cinema & Architecture: Méliès, Mallet-Stevens, Multimedia. London: British Film Institute.

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Pesando, F. (2006) 'Shadows of Light: Cinema, Peplum, and Pompeii', in Guzzo, P. G., (ed.). Stories from an Eruption: Pompeii, Herculaneum, Oplontis: A Guide to the Exhibition. Milan: Electa, pp. 34- 43.

Peterson, J. L. (2013) Education in the School of Dreams: Travelogues and Early Nonfiction Film. 1st edition. [Ebook]. Durham: Duke University Press.

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Pethő, Á. (2020) Cinema and intermediality: The Passion for the In-Between. Newcastle upon Tyne: Cambridge Scholars Publishing.

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Pieri, G. (2016)  'Gabriele d’Annunzio and the Self-Fashioning of a National Icon’, Modern Italy, 21(4), pp. 329–343.

Pollitt, J.J. (1999) Art and Experience in Classical Greece. Cambridge: Cambridge University Press.

Pomeroy, A.J. (ed.). (2017) A Companion to Ancient Greece and Rome on Screen. Oxford: Wiley Blackwell. DOI: https://doi.org/10.1002/9781118741382

Potter, D.S. (2015) Theodora: Actress, Empress, Saint. Oxford: Oxford University Press.

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Potter, A., & Gardner, H. (2021) Ancient Epic in Film and Television. Edinburgh: Edinburgh University Press.

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Pragnell, H., Hardy, P. & Harwood, E. (2018) The Stone Gallery Panorama: Laurence Wright’s view of the City of London from St Paul’s Cathedral, c. 1948-56. London: London Topographical Society.

Prettejohn, E. (2012) The Modernity of Ancient Sculpture: Greek Sculpture and Modern Art from Winckelmann to Picasso. London: I.B. Tauris.

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Price, M. J. (2013) ‘The Statue of Zeus at Olympia’, in: Clayton, P.A., Price, M.J. (eds.), The Seven Wonders of the Ancient World. London/ New York, Routledge, pp. 59-68.

Procida, E. (ed.) (2009) La Sede Storica dell'INAIL a Roma: Il Palazzo in Via IV Novembre. Roma: INAIL.

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Pucci, G. (2013) 'Peplum, Melodrama and Musicality: Giuliano L’Apostata (1919)', in P., Michelakis and M., Wyke (eds.). The Ancient World in Silent Cinema. Cambridge: Cambridge University Press,.pp. 247-261.

Rajewsky, I. O. (2005)  'Intermediality, Intertextuality, and Remediation: A Literary Perspective'. Intermédialités, 6, pp. 43-64.

Redi, R. (ed.) (1994) Gli ultimi giorni di Pompei. Naples: Electa.This book is on the 1926 film version.

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Redi, R., Martinelli, M. (1996) Catalogo della cineteca, Roma, Associazione italiana per le ricerche di storia del cinema.

Rehman, I. (2017) ‘History’s Model General? Reflections on the Life and Times of Belisarius’, War on the Rocks, 21 September. https://warontherocks.com/2017/09/historys-model-general-reflections-on-the-life-and-times-of-belisarius/.

Reich, J. (2013). ‘The Metamorphosis of Maciste in Italian Silent Cinema’, Film History, 3 (25), pp. 32-56.

Reich, J. (2015) The Maciste Films of Italian Silent Cinema. Bloomington, IN: Indiana University Press.

Reichardt, M.R. (2004) Encyclopedia of Catholic Literature. Westport, CT: Greenwood.

Reilly, C.H. (1931) ‘Sir Reginald Blomfield’, in Representative British Architects of the Present Day. London: B.T. Batsford, pp. 54–65.

Renger, A.B., & Solomon, J. (eds.). (2020) Ancient Worlds in Film and Television: Gender and Politics. Leiden: Brill.

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Renwick, J. (2016) Marmontel, Voltaire, and the Bélisaire Affair. Oxford: Voltaire Foundation.

Rhodes, J. D. (2013) “Our Beautiful and Glorious Lives”. The Rhetoric of Nationalism in Early Italian Film Periodicals, in: Giorgio Bertellini ed., Italian Silent Cinema: A Reader, New Barnet: John Libbey, pp. 263-274.

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Ricci, S. (2008) Cinema and Fascism: Italian Film and Society, 1922–1943 (1st ed.). Berkeley/Los Angeles/London: University of California Press.

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Richards, J. (2009) The Ancient World on the Victorian and Edwardian Stage. London/New York: Palgrave MacMillan.

Roberts, H.E. (ed.) (1998) Encyclopedia of Comparative Iconography: Themes Depicted in Works of Art. Chicago; London: Fitzroy Dearborn.

Robinson, D. (1992) ‘I film italiani in Gran Bretagna, 1909–1914’, in Bertetto, P. and Rondolino, G. (eds.) Cabiria e il suo tempo. Turin/Milan: Museo Nazionale del Cinema/Il Castoro, pp. 83–92.

Roller, D.W. (2010) Cleopatra: A Biography. Oxford/ New York/ Auckland: Oxford University Press.

Roscini Vitali, A. (2015) 'Uno scenario da film: La “Mostra del Lazio” di Armando Brasini', Ricerche Di s/Confine, 6(1), pp. 37–56.

Rosenstone, R. A. (1995) Visions of the Past: The Challenge of Film to Our Idea of History. Cambridge, MA.: Harvard University Press.

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Rosenstone, R. A. (2006) History on Film / Film on History. Harlow: Pearson. 

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Ross, M., Grauer, M., & Freisleben, B. (2009) Digital Tools in Media Studies: Analysis and Research. An Overview. Bielefeld: Transcript Verlag.

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Rossell, D. (2022) 'Early Cinema and Optical Media: An Index to Print Anthologies and Exhibition Catalogues'. Historical Journal of Film, Radio and Television, 1(43), pp.  209-314

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Rushing, R. (2020) 'Cabiria', in: Luzzi, J. (ed.). Italian Cinema: From the Silent Screen to the Digital Image, London: Bloomsbury Academic, pp. 303–310. DOI: http://dx.doi.org/10.5040/9781501302640.0026

Salmon, S. (2024) ‘Antiquités muettes chez Pathé’, in Salmon, S. and Riboud-Seydoux, P. (eds.), Antiquité et Cinema. Paris: Fondation Jérôme Seydoux-Pathé, pp. 9-19.

Salmon, S. (2026). ‘Emergence du droit des metteurs-en-scène (1909-1912’, in: Auclair, C., Christie, I., et.al. (eds.), Copy/Rights and Early Cinema: Proceedings of the 17th International Domitor Conference. Ann Arbor: Lever Press. Forthcoming.

 

Salt, B. (1992) Film Style and Technology: History and Analysis. 2nd ed. London: Starword, pp. 102–104. First published 1983.

Schenk, I. (2024) A History of Italian Cinema. London: Palgrave Macmillan.

Scodel, R. and Bettenworth, A. (2008) Whither Quo Vadis?: Sienkiewicz’s Novel in Film and Television. Malden, MA: Wiley-Blackwell.

Sebastiani, A. (2023) 'The Fascist Ideological Placemaking: New Architecture', Ancient Rome and the Modern Italian State: Ideological Placemaking, Archaeology, and Architecture, 1870–1945. Cambridge: Cambridge University Press, pp. 195–233.

Sedgwick, J. (2000) Popular Filmgoing in 1930s Britain: A Choice of Pleasures. Exeter: University of Exeter Press.

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Serna, L.I. (2021) ‘Mapping Film Traffic’, Post45, uploaded 4 May 2021. https://post45.org/2021/04/mapping-film-traffic/ 

 

Sharples, J., Powers, A. and Shippobottom, M. (1996) Charles Reilly & the Liverpool School of Architecture, 1904-1933: Catalogue of an Exhibition at the Walker Art Gallery, Liverpool, 25 October 1996-2 February 1997. Liverpool: Liverpool University Press/ National Museums & Galleries on Merseyside.

Shepherd, D. J. (2013) The Bible in Silent Film: Spectacle, Story and Scripture in the Early Cinema. Cambridge/ New York: Cambridge University Press.

Ovid, Showerman, G. (En. translation), Goold, G. P. (revision of the 2nd edition) (1986) Ovid, Heroides and Amores. Cambridge, MA/London: Harvard University Press. Original second edition 1977, based on the original 1914 edition. 

Shulman, T.C. (2019) Film’s First Family: The Untold Story of the Costellos. Lexington, KY: University Press of Kentucky, pp. 33–40.

Skwara, E. (2013) 'Quo Vadis on Film (1912, 1925, 1951, 1985, 2001): The Many Faces of Antiquity', Clássica (São Paulo), 26(2): pp. 163–174. DOI: https://doi.org/10.14195/2176-6436_26-2_8.

Slide, A. with Gevinson, A. (1987) The Big V: A History of the Vitagraph Company. Metuchen, NJ: Scarecrow Press..

Smith, A.E. and Koury, P.A. (1952) Two Reels and a Crank. Garden City, NJ: Doubleday & Company.

Solomon, J. (2001). The Ancient World in the Cinema. New Haven, CT: Yale University Press.

Solomon, J. (2016) Ben-Hur: The Original Blockbuster. Edinburgh: Edinburgh University Press.

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Stähli, A. (2012) 'Screening Pompeii: The Last Days of Pompeii in Cinema', in Kenneth, L., Seydl J. L. ,& Coates, V. (eds.). The Last Days of Pompeii: Decadence, Apocalypse, Resurrection. Los Angeles: Getty Publications, pp. 78-88.

Steil, L. (ed.). (2014) The Architectural Capriccio: Memory, Fantasy and Invention (1st ed.). London: Routledge. DOI: https://doi.org/10.4324/9781315241326

Stoichita, V. (2008). The Pygmalion Effect. From Ovid to Hitchcock (Chicago/London: University of Chicago Press). Translated from the French edition L'Effet Pygmalion: Pour une anthropologie historique des simulacres. Genève: Droz, 2008.  

Street, S., & Yumibe, J. (2019) Chromatic Modernity: Color, Cinema, and Media of the 1920s. New York: Columbia University Press.

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Striuli, F. (2012) Catalogo della Cineteca AIRSC. Roma: Mostra Internazionale del Nuovo Cinema/ Pesaro Film Festival. https://www.airsc.org/wp-content/uploads/2024/05/AIRSC_Catalogo-della-Cineteca-AIRSC-1.pdf 

 

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Tafuri, M. (1991) History of Italian Architecture, 1944-1985. Translated by J. Levine. Cambridge, MA/ London: MIT Press.

Taillé, D. (2006) Léonce Perret cinématographiste. Niort: Association Cinémathèque en Deux-Sèvres.

Teulon Lardic, S. (2022).  ‘Cultiver le nationalisme dans les Théâtres de plein air. La programmation musicale à Orange, Nîmes et Béziers, de 1894 à 1914’, RGI - Revue Germanique Internationale, 6, pp. 133-146.

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Tosi, V. (2005) Cinema before Cinema: The Origins of Scientific Cinematography. Translated by Sergio Angelini. London: British Universities Film & Video Council.

Trippi, P. (2016) ‘All the World’s a Stage’, in Prettejohn, E. and Trippi, P. (eds.) Lawrence Alma-Tadema: At Home in Antiquity. Munich/London/New York: Prestel, pp. 172–185.

Tunstil, K. E. (2003) ‘Word Meets Image: Racine on Silent Film’, Word & Image 19 (4), pp. 247-60.

Uricchio, W. and Pearson, R.E. (1989) ‘“Films of Quality,” “High Art Films,” and “Films de Luxe”: Intertextuality and Reading Positions in the Vitagraph Films’, Journal of Film and Video, 41, pp. 15–31.

Uricchio, W., & Pearson, R. E. (1993) Reframing Culture: The Case of the Vitagraph Quality Films. Princeton: Princeton University Press.

Cherchi Usai, P. (1985) Giovanni Pastrone. Florence: La Nuova Italia. 

Cherchi Usai, P. (1992) 'A Handbook for Film Archives', Bulletin FIAF, 45, October 1992, p. 57. Review of 'A Handbook for Film Archives' by Eileen Bowser and John Kuiper.

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Cherchi Usai, P. (1994) Burning Passions: An Introduction to the Study of Silent Cinema. London: British Film Institute.

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Cherchi Usai, P. (1996) 'Italy: Spectacle and Melodrama', in Nowell-Smith, G. (ed.). The Oxford History of World Cinema. Oxford: Oxford University Press, pp. 123–129.

Dalle Vacche, A. (1992) The Body in the Mirror: Shapes of History in Italian Cinema. Princeton: Princeton University Press.

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Ventura, F. S. (2015) 'Pompeii in Film', in M., Osanna, M. T., Caracciolo, & L., Gallo (eds.). Pompeii and Europe, 1748, 1943. Milano: Electa, pp. 336-343.

Véray, L. (2005) ‘1927: The Apotheosis of the French Historical Film?’, Film History, 17 (2/3), pp. 334-351.

Walen, D. A. (1999) ‘Sappho in the Closet’, in T.C. Davis, E. Donkin, (eds.). Women and Playwriting in Nineteenth-Century Britain. Cambridge: Cambridge University Press, pp. 233–256.

Warden, P.G. (1981) ‘The Domus Aurea Reconsidered’, Journal of the Society of Architectural Historians, 40(4): 271–278. Available at: https://doi.org/10.2307/989644.

 

Whalley, R. (2005) ‘Harold Peto: Shadows from Pompeii and the Work of Sir Lawrence Alma-Tadema’, Garden History, 33(2), pp. 256–273.

Whalley, R. (2007) The Great Edwardian Gardens of Harold Peto: From the Archives of Country Life. London: Aurum.

White, H. (1973) Metahistory: The Historical Imagination in Nineteenth Century Europe. Baltimore: Johns Hopkins University Press.

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Wiegand, D. (2016-1). ‘Früher Film, Tableau Vivant, und die “Attraktion des Schönen”‘, in J. Schweinitz, D. Wiegand (eds.), Film Bild Kunst: Visuelle Ästhetik des vorklassischen Stummfilms. Marburg: Schüren, pp. 83-116. 

 

Wiegand, D. (2016-2). Gebannte Bewegung Tableaux vivants und früher Film in der Kultur der Moderne. Marburg: Schüren.

Williams, M. (2012) Film Stardom, Myth and Classicism: The Rise of Hollywood’s Gods. Houndmills/New York: Palgrave Macmillan.

Winkler, M. M. (ed.). (2001) Classical Myth and Culture in the Cinema. Oxford/New York: Oxford University Press.

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Winkler, M.M. (2009) The Roman Salute: Cinema, History, Ideology. Columbus, OH: Ohio State University Press.

Winkler, M. M. (2017) ‘Nero in Hollywood’, in S. Bartsch, K. Freudenburg, and C. Littlewood (eds.), The Cambridge Companion to Nero. Cambridge: Cambridge University Press, pp. 318-32.

Van Helden, D., and Witcher (2019) Researching the Archaeological Past through Imagined Narratives: A Necessary Fiction. London: Routledge.

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Wolf, W. (1999)The Musicalisation of Fiction: A Study in the Theory and History of Intermediality. Amsterdam/ New York: Rodopi.

Wolf W. et al. (2009). Metareference Across Media: Theory and Case Studies. Amsterdam/ New York: Rodopi.

Wolf, W., with Bantleon, K., and Thoss, J. (ed.) (2011) The Metareferential Turn in Contemporary Arts and Media: Forms, Functions, Attempts at Explanation. Amsterdam: Rodopi.

Woodhouse, J.R. (1987) ‘Gabriele d’Annunzio’s Reputation and Critical Fortune in Britain’, Annali d’Italianistica, 5, pp. 245–258.

Woźniak, M. (2021) 'Toward Mass Culture: The Global Renown of Henryk Sienkiewicz's Quo Vadis', in S. Bill, M. Popiel, and T. Bilczewski (eds.), The Routledge World Companion to Polish Literature. London: Routledge, pp. 171–184.

Woźniak, M. and Wyke, M. (eds.) (2020) The Novel of Neronian Rome and its Multimedial Transformations: Sienkiewicz’s Quo vadis. Oxford: Oxford University Press.

Wyke, M. (1997) Projecting the Past: Ancient Rome, Cinema and History. New York: Routledge.

Wyke, M. (2002). The Roman Mistress: Ancient and Modern Representations. Oxford: Oxford University Press.

Wyke, M. (2012) Caesar in the USA. Berkeley/ Los Angeles/ London: University of California Press.

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Wyke, M. (2017) ‘From 1916 to the Arrival of Sound: The Systemization, Expressivity and Self-Reflection of the Feature Film’, in A.J. Pomeroy (ed.), A Companion to Ancient Greece and Rome on Screen. Malden, MA.: John Willey & Sons, pp. 61-89.

Wyke, M. (2017). ‘The Pleasures and Punishments of Roman Error: Emperor Elagabalus at the Court of Early Cinema’, in: B. Dufallo (ed.),  Roman Error: Classical Reception and the Problem of Rome's Flaws. Oxford: Oxford University Press, pp. 209-232.

Wyke, M. (2019) ‘Mobilising Pompeii for Italian Silent Cinema’, Classical Receptions Journal, 11(4), pp. 453–475.

Wyke, M. (2020), ‘Word and Image: Competitive Adaptation in the Feature Film Quo vadis?’, in M. Woźniak and M. Wyke (eds.), The Novel of Neronian Rome and its Multimedial Transformations: Sienkiewicz’s Quo vadis. Oxford: Oxford University Press, pp. 143-164.

Wyke, M. (2021) ‘Lessons in History: Bernard Shaw’s Discomforting Caesar’, in R. Rajaand T. A. Hass (eds.), Caesar’s Past and Posterity’s Caesar. Series Rome Studies. Archaeology, History and Literature vol. 1. Turnhout: Brepols, pp. 199-212.

Wyke, M. (2026) ‘Feminizing Ancient Rome: Women at the Cinema from the 1890s to the 1930s’, in Woźniak, M. and Wyke, M. (eds.), Audio-Visual Roman Women: Gender, History & Screen Media. London: Bloomsbury Press, pp. 19-35.

Zangrando, F. (1973) ‘Rodolfo Kanzler. Uno sconosciuto pioniere del cinema’, Lazio ieri e oggi, Rome, 9 (12), December 1973, pp. 280-281.

Zanker, P. (1998) Pompeii: Public and Private Life. Cambridge, MA: Harvard University Press.

Zimmerman, V. (2009) Excavating Victorians. Albany, NY: State University of New York Press.

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Ziółkowski, A. (2021) Sienkiewicz and the Topography of Ancient Rome: The Riddle of Ostrianum in Quo Vadis, in: M. Woźniak and M. Wyke (eds.), The Novel of Neronian Rome and its Multimedial Transformations: Sienkiewicz’s Quo Vadis. Oxford: Oxford University Press, pp. 39–54.

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Zoppis, S. (2025) ‘Riconfigurare il passato. La collezione Joye e il ruolo della selezione nella memoria del cinema muto’, La valle dell’Eden, 45, 2025, pp. 149-156.