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Scenes of instruction: The beginnings of the US study of film

Nivers instead of Niver), but it is surely carelessness on the part of New York University Press when many periodical references are given as abbreviations without ever having been cited in full, and when there are bibliographical inconsistencies between citations in adjacent notes (e.g. p. 243, notes 39 to 42). Despite these minor annoyances, this book is significant, as it contributes to a field – the history of the religious film – which has been only slightly covered by film historians elsewhere, for while Lindvall deals with the American history of early religious cinema, other national schools have not been so well served. The author cites research on the Australian (p. 57) and British (pp. 104, 283) history of the religious film, including the work of Dean Rapp, and there is of course also the 1992 Domitor collection on this theme. One might also mention the work of Chris Long, Torsten Gärtner (in Loiperdinger’s Travelling Cinema in Europe, reviewed below), myself and Tony Fletcher. But more remains to be done, and one could add that there was a great deal of interest in the magic lantern and in cinema in the early days among religious leaders in France and elsewhere in Europe, and (often through missionaries) in the Third World too. Perhaps Mr Lindvall’s book will provide some encouragement for further studies on early religious cinema.