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| Preface | |
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| Introduction: A Reader's Guide to the American Avant-Garde Film | |
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| The Formative Years, 1955-58 | |
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| The Film as an Original Art Form | |
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| The Experimental Film in America | |
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| Metaphysic of Ordet: A Letter from Carl Th. Dreyer | |
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| Citizen Kane: The American Baroque | |
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| In Memoriam of Dimitri Kirsanov, a Neglected Master | |
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| A Preface to the Problems of the Experimental Film | |
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| The Merry Widow | |
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| Portrait of an Artist | |
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| A Footnote to Foolish Wives | |
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| Coffee, Brandy, and Cigars XXX | |
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| The New American Cinema | |
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| A Call for a New Generation of Film-Makers | |
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| For an Uncontrolled Cinema | |
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| The First Statement of the New American Cinema Group | |
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| To Maya Deren | |
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| Notes on the New American Cinema | |
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| For Shadows, Against Pull My Daisy | |
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| The Commercial Cinema and the Auteur Theory | |
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| Notes on the Auteur Theory in 1962 | |
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| The Camera as a God | |
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| Dreyer | |
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| Defense of Jayne Mansfield | |
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| The American Avant-Garde | |
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| Poetry and the Film: A Symposium with Maya Deren, Arthur Miller, Dylan Thomas, Parker Tyler. Chairman, Willard Mass | |
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| Imagism in Four Avant-Garde Films | |
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| Interview with Stan Brakhage | |
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| The Birth Film | |
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| Respond Dance | |
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| On The Art of Vision | |
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| Harry Smith Interview | |
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| Kenneth Anger's Scorpio Rising | |
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| Smith Myth | |
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| Interview with Peter Kubelka | |
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| Some Notes on Sleep | |
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| The Cosmic Cinema of Jordan Belson | |
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| Notes on Some New Movies and Happiness | |
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| Structural Film | |
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| On "Structural Film" | |
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| Overviews and Theoretical Considerations | |
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| The Writings of Dziga Vertov | |
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| Orson Welles and the Big Experimental Film Cult | |
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| Classic Plastics (and Total Tectonics) | |
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| The Image of the Body | |
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| A Note on Comedy in Experimental Film | |
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| Film and the Radical Aspiration | |
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| The Independent Film Award | |
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| Index | |