This thesis explores the history of the Stoll Film Company and Stoll Picture Productions, which formed one of the largest and most important British film concerns of the late 1910s and the early and mid-1920s. Drawing on a wealth of primary sources, including trade papers, newspapers and archival films, this is the first detailed history of these important companies and the films they produced, a history that reveals much about the state of British cinema in the period following the First World War. Far from being a time of unremitting gloom, as many previous commentators have suggested, Stoll's operations show that this period was also characterised by ambition and energy. The thesis includes both a business history of the Stoll companies and detailed readings of a wide range of their films, demonstrating the ways in which those films were shaped by economic and industrial constraints and prevailing cultural practices. This analysis also highlights some of the important genres, cycles and film-making practices of the period, and engages with revisionist debates surrounding the importance of intermedial practices to British cinema of the 1910s and 1920s. The thesis contributes to current revisionist work on British silent cinema but also to histories of both the British film industry and of silent cinema more widely. It shows that there was a strong level of continuity between the silent and sound eras, although this is frequently marginalised in accounts of British cinema and film-making practices. The examination of Stoll's business practices and films also widens our understanding of the variety of ways in which producers sought to attract audiences for their films, develop national cinemas and respond to Hollywood's dominance of world film markets in the years following the First World War.