In Lost Films, Frank Thompson examines twenty-seven classic movies made between 1911 and the end of the silent era, including such works of genius as Ernst Lubitsch's The Patriot, Raoul Walsh's The Conquerer, Victor Seastrom's Garbo vehicle The Divine Woman, and F.W. Murnau's Four Devils.

Booth and Michelle (Lost Signals) deliver a collection of 19 technological horror shorts that are rich in imagination but woefully inconsistent in quality. Bookended by two bland head-scratchers, "Lather of Flies" by Brian Evenson and "The Fantastic Flying Eraser Heads" by David James Keaton, this anthology features all manner of descents into madness, horror, and mayhem, aided by the largely inhuman hand of technology. Entries include the intensely, weirdly atmospheric ("I Hate All That Is Mine" by Leigh Harlen) and the frustratingly, mind-bendingly experimental ("Daddy's in a Snuff Film" by Kelby Losack). John C. Foster's "Archibald Leech, The Many-Storied Man," Brian Asman's "A Festival of Fiends," and Eugenia M. Triantafyllou's "Ghost Mapping" are exceptional offerings that sacrifice neither storytelling nor style in realizing their thought-provoking concepts.

It is one of the most astonishing facts of cinema history: an extraordinary number of important films are believed to be lost forever. Spanning from the early days of the silent movies to as late as the 1970s and touching all corners of the global film experience, groundbreaking works of significant historical and artistic importance are gone. Cinema icons including Orson Welles, Stanley Kubrick, Alfred Hitchcock, Oscar Micheaux and Vincente Minnelli are among those impacted by this tragedy, and pioneering technological achievements in color cinematography, sound film technology, animation and widescreen projection are among the lost treasures. How could this happen? And is it possible to recover these missing gems? In this book, noted film critic and journalist Phil Hall details circumstances that resulted in these productions being erased from view. For anyone with a passion for the big screen, In Search of Lost Films provides an unforgettable consideration of a cultural tragedy.

The Lost Cinema of Mexico is the first volume to challenge the dismissal of Mexican filmmaking during the 1960s through 1980s, an era long considered a low-budget departure from the artistic quality and international acclaim of the nation’s earlier Golden Age. This pivotal collection examines the critical implications of discovering, uncovering, and recovering forgotten or ignored films. This largely unexamined era of film reveals shifts in Mexican culture, economics, and societal norms as state-sponsored revolutionary nationalism faltered. During this time, movies were widely embraced by the public as a way to make sense of the rapidly changing realities and values connected to Mexico’s modernization. These essays shine a light on many genres that thrived in these decades: rock churros, campy luchador movies, countercultural superocheros, Black melodramas, family films, and Chili Westerns. Redefining a time usually seen as a cinematic “crisis,” this volume offers a new model of the film auteur shaped by productive tension between highbrow aesthetics, industry shortages, and national audiences. It also traces connections from these Mexican films to Latinx, Latin American, and Hollywood cinema at large. A volume in the series Reframing Media, Technology, and Culture in Latin/o America, edited by Héctor Fernández L’Hoeste and Juan Carlos Rodríguez Contributors: Brian Price | Carolyn Fornoff | David S. Dalton | Christopher B. Conway | Iván Eusebio Aguirre Darancou | Ignacio Sánchez Prado | Dolores Tierney | Dr. Olivia Cosentino Publication of this work made possible by a Sustaining the Humanities through the American Rescue Plan grant from the National Endowment for the Humanities.

In a career of more than fifty years'spanning the Golden Era from 1926 to 1976?Hollywood icon John Wayne created a treasure trove of movies. Today, scarcely an hour goes by without one of them appearing on television somewhere in the world. With most of the Wayne films available to his fans today, just a few of them remain unavailable in this era of remastered miracles. Of all the movies he made beyond the 1939 'Stagecoach' age, only two have been kept from the public: 'Island in the Sky' and 'The High and the Mighty.' Many reasons have been suggested for why the two films have been unavailable until the summer of 2005, from the thought that the original films were damaged and the copies were not good enough for additional distribution to the theory that they have been withheld for a future grand release. Whatever the reasons may be, 'The Lost Films of John Wayne' honors his work in both films and servesa as a loving portrayal of some fo the lesser-known images he left behind.

During the first half of this century, motion pictures were often considered disposable once their circulations were over. The recycling of used film and the use of components for war efforts contributed to the loss of many movies, as did the unstable nature of the nitrate film itself. The loss of extant works has created gaps in the national cinematic history of the United States and most European countries. Eighty percent of all Western-made films produced before World War I are considered lost, while 15 percent of the films made from 1930 to 1950 are also missing. Here are descriptions of nearly 1,000 of the lost American and European films produced between 1900 and 1950, featuring the talents of the still famous as well as the now obscure. The films are arranged by country and reveal the remarkably prolific early filmmaking in countries like the Netherlands and Sweden. Each entry includes production information, cast, synopsis, history, and insights from reviews when available. Photographs from these films provide glimpses of what once was. An extensive index is included.