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Notes
Introduction – From Sjöström to Seastrom
1. A copy of A Lady to Love has actually been deposited in the Warner Bros. archive,
though earlier researchers have believed it to be lost.
2. For a short general overview of his films, see Bo Florin, Regi: Victor Sjöström/Directed
by Victor Sjöström, Stockholm: Svenska Filminstitutet, 2003.
3. Richard Maltby, “New Cinema Histories”, in Richard Maltby, Daniel Biltereyst and
Philippe Meers, eds, Explorations in New Cinema History: Approaches and Case Studies,
Sussex: Wiley-Blackwell, 2011, 8.
4. Kristin Thompson, Herr Lubitsch Goes to Hollywood: German and American Film After
World War I, Amsterdam: Amsterdam University Press, 2005, 18.
5. Bo Florin, Den nationella stilen. Studier i den svenska filmens guldålder [The National
Style: Studies in the Golden Age of Swedish Cinema], Stockholm: Aura förlag, 1997, 22 f.
6. Thomas Schatz and Alisa Perren, “Hollywood”, in John Downing, Denis McQuail
and Philip Schlesinger, eds, The Sage Handbook of Media Studies, London: Sage, 2004,
495.
7. Thompson, op. cit.
8. Tom Gunning, The Films of Fritz Lang: Allegories of Vision and Modernity, London: BFI,
2000, 3-5.
9. Bengt Forslund, Victor Sjöström. Hans liv och verk. Stockholm: Bonniers, 1980.
10. See, for instance, Örjan Roth-Lindberg, “Den dolda spegeln. Victor Sjöströms
berättarkonst i The Scarlet Letter”, Chaplin 194-195, vol 25 no 5-6, 1984, 236-241, 316;
Roth-Lindberg, “Den bedrägliga bilden. Om den visuella fantasin i Victor Sjöströms
He Who Gets Slapped”, Chaplin 196, vol 27, no1, 1985, 28-36; Roth Lindberg, “En
värld av masker”, Chaplin 197, vol 27, no2, 1985, 102-107 (English translation: “The
Deceptive Image: On the Visual Fantasy in Victor Sjöström’s He Who Gets Slapped”,
25th anniversary issue, Chaplin 1984, 58-71); Arne Lunde, “Scandinavian/American
Whiteface: Ethnic Whiteness and Assimilation in Victor Sjöström’s He Who Gets
Slapped”, in the author’s Nordic Exposures: Scandinavian Identities in Classical
Hollywood Cinema, Seattle: University of Washington Press, 2010, 38-63.
11. Graham Petrie, Hollywood Destinies: European Directors in America, 1922-1931, rev.
ed., Detroit, MI: Wayne State University Press, 2002.
12. See, for example, Barbara Klinger’s argument that “factors that accompany the
presentation of a film, including such material as film reviews and industry
promotions as well as specific historical conditions, serve as signs of a vital semiotic
and cultural space that superintend the viewing experience.” Barbara Klinger,
Melodrama and Meaning, Bloomington: Indiana University Press, 1994, xvi.
13. Sabine Hake, The Cinema’s Third Machine: Writing on Film in Germany, 1907-1933,
Lincoln: University of Nebraska Press, 1993, xi.
14. Janet Staiger, Interpreting Films: Studies in the Historical Reception of American Cinema,
Princeton, NJ: Princeton University Press, 1992, 95.
15. Scripts or scenarios and cutting continuity scripts are preserved at the Cinematic
Arts Library’s Archives of Performing Arts at University of Southern California.
Hereafter: Script and CCS.