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| Acknowledgments and Places of Previous Publication | |
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| General Introduction | |
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| Flashback: Of Objects of Love and Objects of Study | |
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| Film Studies in Britain: Cinephilia, Screen Theory and Cultural Studies | |
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| The Name for a Pleasure that has No Substitute: Vincente Minnelli | |
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| All the Lonely Places: The Heroes of Nicholas Ray | |
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| Sam Fuller's Productive Pathologies: The Hero as (His Own Best) Enemy | |
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| Cinephilia: Or the Uses of Disenchantment | |
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| Genius of the System | |
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| The Persistence of Hollywood, Part I: The Continuity Principle | |
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| Why Hollywood? | |
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| Narrative Cinema and Audience Aesthetics: The Mise-en-Sc�ne of the Spectator | |
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| Film as System: Or How to Step Through an Open Door | |
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| Gangsters and Grapefruits: Masculinity and Marginality in The Public Enemy | |
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| Studio and Genre: Auteurs Maudits, Mavericks and Eminent Europeans | |
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| Transatlantic Triangulations: William Dieterle and the Warner Bros. Biopics | |
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| Welles and Virtuosity: Citizen Kane as Character-Mask | |
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| The Dandy in Hitchcock | |
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| Too Big and Too Close: Alfred Hitchcock and Fritz Lang | |
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| Robert Altman's Nashville: Putting on the Show | |
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| Stanley Kubrick's Prototypes: The Author as World-Maker | |
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| Genie out of the Bottle: The Return of the System as Auteur? | |
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| The Pathos of Failure: Notes on the Unmotivated Hero | |
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| Auteur Cinema and the New Economy Hollywood | |
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| The Love that Never Dies: Francis Ford Coppola and Bram Stoker's Dracula | |
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| The Blockbuster as Time Machine | |
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| Auteurism Today: Signature Products, Concept-Authors and Access for All: Avatar | |
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| The Persistence of Hollywood | |
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| Digital Hollywood: Between Truth, Belief and Trust | |
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| The Persistence of Hollywood, Part II: Reflexivity, Feedback and Self-Regulation | |
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| Endnotes | |
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| Index | |