1. Howard Koch, “Script to Screen with Max Ophüls,” in Letter from an Unknown
Woman, ed. Virginia Wright Wexman and Karen Hollinger (New Brunswick: Rut-
gers University Press, 1986), 200.
2. Letter from an Unknown Woman was released on vhs in 1998, and after many years
of unavailability on DvD in the United States, it was finally released on Blu- ray in
3. Film prints are held at the eye Film Institute and the Library of Congress. The
Library of Congress print is available online under its U.S. release title, On the
Coast of the Bay of Biscay, France. Search by title at http://memory.loc.gov/ammem
/index.html (accessed 12 October 2012).
4. Rick Altman, “From Lecturer’s Prop to Industrial Product: The Early History
of Travel Films,” Virtual Voyages: Cinema and Travel, ed. Jeﬀrey Ruoﬀ (Durham:
Duke University Press, 2006), 61.
5. Jeﬀrey Ruoﬀ, “Introduction: The Filmic Fourth Dimension: Cinema as Audio-
visual Vehicle,” in Ruoﬀ, Virtual Voyages, 14.
6. See Thomas Elsaesser, “The New Film History as Media Archaeology,” Cinémas
14, nos. 2–3 (2004): 75–117.
7. See Robert C. Allen and Douglas Gomery, Film History: Theory and Practice (New
York: McGraw- Hill, 1985), 67–76.
8. Rick Altman, Silent Film Sound (New York: Columbia University Press, 2004),
9. Charles Musser, with Carol Nelson, High- Class Moving Pictures: Lyman H. Howe
and the Forgotten Era of Traveling Exhibition, 1880–1920 (Princeton: Princeton Uni-
versity Press, 1991), 55.
10. On the discourse of cruelty in Las Hurdes specifically, see Catherine Russell, Ex-
perimental Ethnography: The Work of Film in the Age of Video (Durham: Duke Uni-
versity Press, 1999), 38–40.
11. Dudley Andrew, “Praying Mantis: Enchantment and Violence in French Cinema