From the 1905 opening of the wildly popular, eponymous Nickelodeon in the city's downtown to the subsequent outgrowth of nickel theaters in nearly all of its neighborhoods, Pittsburgh proved to be perfect for the movies. Its urban industrial environment was a melting pot of ethnic, economic, and cultural forces-a \u201cwellspring\u201d for the development of movie culture-and nickelodeons offered citizens an inexpensive respite and handy escape from the harsh realities of the industrial world. Nickelodeon City provides a detailed view inside the city's early film trade, with insights into the politics and business dealings of the burgeoning industry. Drawing from the pages of the Pittsburgh Moving Picture Bulletin, the first known regional trade journal for the movie business, Michael Aronson profiles the major promoters in Pittsburgh, as well as many lesser-known ordinary theater owners, suppliers, and patrons. He examines early film promotion, distribution, and exhibition, and reveals the earliest forms of state censorship and the ensuing political lobbying and manipulation attempted by members of the movie trade. Aronson also explores the emergence of local exhibitor-based cinema, in which the exhibitor assumed control of the content and production of film, blurring the lines between production, consumption, and local and mass media. Nickelodeon City offers a fascinating and intimate view of a city and the socioeconomic factors that allowed an infant film industry to blossom, as well as the unique cultural fabric and neighborhood ties that kept nickelodeons prospering even after Hollywood took the industry by storm.

During the 1920s, sound revolutionized the motion picture industry and cinema continued as one of the most significant and popular forms of mass entertainment in the world. Film studios were transformed into major corporations, hiring a host of craftsmen and technicians including cinematographers, editors, screenwriters, and set designers. The birth of the star system supported the meteoric rise and celebrity status of actors including Charlie Chaplin, Mary Pickford, Joan Crawford, Greta Garbo, and Rudolph Valentino while black performers (relegated to 'race films') appeared infrequently in mainstream movies. The classic Hollywood film style was perfected and significant film genres were established: the melodrama, western, historical epic, and romantic comedy, along with slapstick, science fiction, and fantasy. In ten original essays, American Cinema of the 1920s examines the film industry's continued growth and prosperity while focusing on important themes of the era. Some of the films discussed in this volume include: Flesh and the Devil, Applause, The Jazz Singer, Salome, The Affairs of Anatol, and The Electric House.

In this pathbreaking study, I. Michael Aronson offers a closely argued and many-faceted reinterpretation of Russian anti-Semitism and tsarist nationalities policy. He examines, and refutes, the widely held belief that the anti-Jewish pogroms in Russia in 1881 were a result of a conspiracy supported by the tsarist government or circles close to it, investigating claims and counterclaims about what happened during that fateful year and guiding the reader through a maze of events and decades of subsequent interpretations.
Although the pogroms are treated within the context of Russian history, Aronson's analysis has significance for Jewish studies as well. When the Russian government adopted reactionary and repressive policies, Jews began to seek new solutions to the problems that plagued them: massive numbers emigrated to the United States; other turned to revolutionary socialism; still others were attracted to Zionism and supported the creation of the state of Israel.