For nearly half a century, Nineteenth Century Theatre and Film has stood at the forefront of research in nineteenth-century performance of all kinds, construing theatre and film comprehensively. The journal welcomes discussion on any topic within the wide diversity of theatrical arts that emerged from the Age of Revolution to the advent of sound motion pictures as well as all 'pre-cinema' optical and narrative forms, 'silent' motion pictures and illusions. Considering narrative or variety entertainments from all countries and regions, Nineteenth Century Theatre and Film's scope embraces not only drama and film but also dance, opera, music hall, circus, fairground entertainment, puppetry and other forms which implicate live audiences (actual, potential or imaginary). The journal regularly publishes essays, documents, book reviews and review essays. The publication of documents in photographic or critical facsimile and in annotated critical editions emphasises the value of primary materials, carrying out the journal's commitment to contributing directly to the research needs of the working scholar.
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Publisher: Manchester University Press