Free The Oxford History of World Cinema by Geoffrey Nowell-Smith

production methods, and upon pre-existing exhibition
    venues such as vaudeville and fairs. In its next decade, however, the cinema took major
    steps toward becoming the mass medium of the twentieth century, complete with its own
    formal conventions, industry structure, and exhibition venues.
    Bibliography
    Balio, Tino (ed.) ( 1985), The American Film Industry .
    Barnes, John ( 1976). The Beginnings of the Cinema in England .
    Bordwell, David, Staiger, Janet, and Thompson, Kristin ( 1985), The Classical Hollywood
    Cinema .
    Chanan, Michael ( 1980), The Dream that Kicks .
    Cherchi Paolo Usai, and Codelli, Lorenzo (eds.) ( 1990), Before Caligari .
    Cosandey, Roland, Gaudreault, André, and Gunning, Tom (eds.) ( 1992), Une invention
    du diable?
    Elsaesser, Thomas (ed.) ( 1990), Early Cinema: Space, Frame, Narrative .
    Fell, John L. ( 1983), Film before Griffith .
    --- ( 1986), Film and the Narrative Tradition .
    Gunning, Tom ( 1986), "The Cinema of Attractions".
    Holman, Roger (ed.) ( 1982), Cinema 1900-1906: An Analytic Study .
    Low, Rachael, and Manvell, Roger ( 1948), The History of the British Film, 1896-1906 .
    Musser, Charles ( 1990), The Emergence of Cinema .
    --- ( 1991), Before the Nickelodeon .
    Transitional Cinema
    ROBERTA PEARSON
    Between 1907 and 1913 the organization of the film industry in the United States and
    Europe began to emulate contemporary industrial capitalist enterprises. Specialization
    increased as production, distribution, and exhibition became separate and distinct areas,
    although some producers, particularly in the United States, did attempt to establish
    oligopolistic control over the entire industry. The greater length of films, coupled with the
    unrelenting demand from exhibitors for a regular infusion of new product, required this
    standardization of production practices, as well as an increased division of labour and the
    codification of cinematic conventions. The establishment of permanent exhibition sites
    aided the rationalization of distribution and exhibition procedures as well as maximizing
    profits, which put the industry on a more stable footing. In most countries, early cinemas
    held fairly small audiences, and profits depended upon a rapid turnover, necessitating
    short programmes and frequent changes of fare. This situation encouraged producers to
    make short, standardized films to meet the constant demand. This demand was enhanced
    through the construction of a star system patterned after the theatrical model which
    guaranteed the steady loyalty of the newly emerging mass audience.
    The films of this period, often referred to as the 'cinema of narrative integration', no
    longer relied upon viewers' extra-textual knowledge but rather employed cinematic
    conventions to create internally coherent narratives. The average film reached a standard
    length of a 1000-foot reel and ran for about fifteen minutes, although the so-called 'feature
    film', running an hour or more, also made its first appearance during these years. In
    general, the emergence of the 'cinema of narrative integration' coincided with the cinema's
    move toward the cultural mainstream and its establishment as the first truly mass
    medium. Film companies responded to pressures from state and civic organizations with
    internal censorship schemes and other strategies that gained both films and film industry a
    degree of social respectability.
    INDUSTRY
    Before the First World War, European film industries dominated the international market,
    with France, Italy, and Denmark the strongest exporters. From 60 to 70 per cent of all the
    films imported into the United States and Europe were French. Pathé, the strongest of the
    French studios, had been forced into aggressive expansion by the relatively small
    domestic demand. It established offices in major cities around the world, supplemented
    them with travelling salesmen who sold films and equipment, and, as a result, dominated
    the market in countries that could support only