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| What Is Film? | |
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| Flicks, Movies, and Films: Developing Distinction | |
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| When Is a Movie a Film? | |
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| Old Movies | |
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| Foreign Films | |
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| Avant-Garde Cinema | |
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| Taking in a Movie vs. Watching a Film | |
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| How to Watch a Flick as If It Were a Film | |
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| "Entertainment" | |
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| Didacticism | |
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| Some Examples to Contrast | |
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| "Lights, Camera, Action!" | |
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| There Are Many Ways of Making Films | |
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| Development: Birth of a Notion | |
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| Ethel, I Have an Idea: The Story | |
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| Magic and Mud | |
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| Preproduction | |
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| Storyboarding | |
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| Scripting | |
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| Location, Location, Location | |
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| Technical Concerns | |
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| The Big Production | |
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| The Breakdown Script | |
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| Principal and Other Photography | |
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| Postproduction | |
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| Editing | |
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| Sound Mix | |
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| To Market, to Market, to Market We Go | |
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| Some Films Worth Viewing | |
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| From First Fidelity to First Run: Film Economies | |
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| The Economic and Industrial Setting: The Primitive Era | |
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| Production, Distribution, Exhibition | |
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| Production | |
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| Getting Gold in the Golden Era | |
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| Financing Now | |
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| Distribution | |
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| Primitive Distribution | |
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| Block Booking | |
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| Exhibition(ists) | |
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| Nickelodeons | |
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| Movie Palaces | |
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| Drive-Ins: Asphalt and Art | |
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| Multiplex Madness | |
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| Stars' Bucks | |
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| Independent Films Today | |
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| Foreign Films | |
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| Some Films About the Film Industry | |
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| Gaffers, Grips, and Gofers: The Personnel | |
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| Mystifying Movies | |
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| Employment History | |
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| Unions | |
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| The First Unions | |
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| Unions in the McCarthy Era | |
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| I'm Stickin' to the Union--Not: Labor Today | |
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| The Job Descriptions | |
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| Films Worth Viewing | |
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| A Brief History of (Mostly American) Film | |
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| The Earliest History of the Movies | |
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| Film Firsts and First Films | |
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| Before There Was Film | |
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| The Big Breakthroughs | |
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| Mechanics and Movement | |
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| You're Projecting, Louis! | |
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| Rolls and Rolls of Celluloid | |
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| "The Illusion Is Complete" | |
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| Cinema at the Century | |
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| The First Movie Monopoly | |
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| Seven Early Silents to Savor | |
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| D. W. Griffith and the "Birth" of Narrative Film | |
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| The Michelangelo of Film | |
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| D. W. and His Klan | |
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| The Quiet Pleasures of Silent Film | |
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| Learning to Love, Honor, and Cherish Silent Film | |
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| Why Bother? | |
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| Reasons to Shut Up and Watch | |
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| Studio City | |
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| HollyWorld | |
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| The Giant Sucking Sound | |
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| Born in the USA ... Not! | |
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| New Directions | |
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| The Ones to Watch | |
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| Committing (to) Harry Carey: The Early Genre Film | |
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| Film West, Young Man! | |
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| Reel Funny | |
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| Silent Stars | |
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| The Best Medicine | |
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| A Thing of Beauty Is a Joy Forever | |
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| Film Acting as Art Form | |
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| Hollywood in the "Golden Age" | |
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| "You Ain't Heard Nothing Yet!": The Coming of Sound | |
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| Studios and Their Identity | |
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| Money Plus Glamour Equals Movies (MGM) | |
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| The Brothers Warner | |
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| Sly as a Fox | |
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| Other Studio Stalwarts | |
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| The Auteur Theory | |
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| The Man Who Shot The Man Who Shot Liberty Valance | |
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| Sir Alfred, King of Suspense | |
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| Of Casts, Commies, and Kazan | |
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| Mr. Feelgood | |
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| "The Greatest" | |
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| Hollywood's Not-So-Secret Code | |
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| Face Time: Actors and Actresses in the Golden Age | |
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| Six Simple Star-Gazing Strategies | |
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| The Decline and Fall of the Studio Empire | |
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| Singin' in the (Acid) Rain | |
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| Hollywood's Headaches (and HUAChes) | |
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| The Curse of the Little Black Box | |
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| HUAC and the "Hollywood Ten" | |
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| Hollywood's Changing Economy | |
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| Flirting (but Coping) with Disaster | |
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| A Wider View | |
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| Dodging the Red-Baiting Bullet | |
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| Independence Days | |
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| Foreign Factors | |
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| Staying Afloat in the Hollywood Mainstream | |
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| Yes, But Is It Art? | |
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| Who Really Decides What Films Get Made? | |
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| Creative People Who Call the Shots | |
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| What Is a Hollywood "Insider"? | |
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| Who Makes It? | |
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| Miscellaneous Concerns | |
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| The Categories | |
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| White Guys in the Mainstream | |
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| Woody Allen: Outsider Player | |
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| George Lucas: Nostalgia Merchant | |
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| Steven Spielberg: Commercial Artist | |
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| Women in the Deep End: A Shorter But Not Shallow List | |
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| Jodie Foster: Foster Children Can Grow Up Happy | |
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| Barbra Streisand: Mental Yentl | |
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| Ethnic Directors Making a Difference | |
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| Robert Townsend: Painfully Funny | |
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| Mario Van Peebles | |
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| Gen X, Y, Z Filmmakers: New Kids on the Block | |
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| Ben Affleck and Matt Damon | |
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| Paul Thomas Anderson | |
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| Kevin Smith | |
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| Some Films Worth Viewing | |
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| The American Independent Film | |
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| A Brief History of American Independents | |
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| The Silent Era | |
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| The Sixties and Seventies: "The New Hollywood" | |
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| The Eighties and Nineties: How Much Success Is Too Much? | |
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| The Independent Scene Today | |
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| Hollywood Be(Blair) Witched | |
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| The Postmodern Polyglot | |
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| Film's Hardest Nose: Documentary | |
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| New Technologies, New Cinemas | |
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| Declaration of Independents | |
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| The Hundred Languages of Foreign Film | |
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| French Revolutions | |
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| It's Art, Stupid! | |
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| A Century of Cinematic Splendor | |
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| The Movies' First Magician | |
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| Before the War | |
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| Avowing the Avant-Garde | |
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| The "Other Renoir" | |
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| The Real Poetic Realism | |
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| Surfing the "New Wave" | |
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| The Changing of the 'Garde | |
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| Cahiers du Cin%ema | |
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| True Truffaut | |
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| Thank God(ard) for French Film | |
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| The Eighties and Nineties | |
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| Ten Fabulous French Films | |
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| A Century of Italian Film | |
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| Turnin' to Turin | |
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| The Wages of War | |
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| Ringing the White Telephone | |
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| A Few Good Films | |
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| The Other Michelangelo | |
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| Getting Real(ist) with Roberto | |
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| Fellini the Fabulous | |
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| Falling for Fellini | |
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| Face Time | |
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| The Past 20 Years | |
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| New Blood | |
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| Italy's "Little Devil" | |
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| Cleaning Up Germany's History of Propaganda Film | |
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| Germany's Greatest -Ism | |
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| Dr. Caligari and Beyond | |
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| Fantastic Fritz | |
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| Hitler's Hired Help | |
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| A Few Young Men | |
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| Roads Not Taken: Film in East Germany | |
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| Unification and Beyond | |
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| The Silver Screens of Scandinavia | |
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| Danish Directions | |
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| World's Oldest Surviving Production Company Shoots All | |
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| Denmark's Fabulous Five | |
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| From Olsen to Oscar Night | |
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| The Networks of Norway | |
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| Swedish Sweetness | |
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| Magnusson the Magician | |
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| Victor's Victories | |
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| Ingmar Bergman and the Triumph of Scandinavian Cinema | |
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| A Cinema of Life, Death, and Everything in Between | |
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| |
| How to Watch a Bergman Film | |
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| |
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| In the Limey Light: England's Cinematic Century | |
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| The Beginnings | |
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| England's Griffith: Cecil Hepworth | |
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| Those Bloody Americans | |
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| Alexander the Great | |
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| Shooting (in) the War | |
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| Of D-Day and Documentaries | |
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| True Lies | |
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| The Lean Years | |
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| Pulling Rank | |
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| Freeing British Cinema | |
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| The Atlantic Conduit Continues | |
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| The Eighties and Nineties: Mixed Success | |
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| England's Left Foot: Irish Cinema | |
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| Seeing Through the Red Filter: Eastern Europe | |
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| Volga Displays: A Brief History of Russian Filmmaking | |
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| Czars and Stars: Pre-Soviet Moviemaking | |
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| The Soviet Era: First Five-Year Plan | |
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| The Soviet Era: Second Five-Year Plan | |
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| The Soviet Era: Totalitarianism | |
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| Late and Post-Soviet Filmmaking | |
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| Other Eastern European Cinemas: Czechoslovakia, Hungary, Poland | |
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| |
| Czech and Counter-Czech | |
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| |
| Hungary for Film | |
| |
| |
| Projecting Poland | |
| |
| |
| Avant-Garde Directors and Theorists to Remember | |
| |
| |
| Lev Kuleshov | |
| |
| |
| Dziga Vertov (Denis the Red Menace) | |
| |
| |
| Vsevolod I. Pudovkin | |
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| |
| Sergei Eisenstein | |
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| |
| Andrei Tarkovsky | |
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| |
| Some Soviet Movies Worth Watching | |
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| Other Eastern Bloc-Busters | |
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| |
| |
| Asian Angles: Filming in the Far East | |
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| |
| Two Chinas, Two Cinemas | |
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| |
| Movies on the Mainland | |
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| |
| Top of the Fifth | |
| |
| |
| Hou's Who in Recent Taiwanese Film | |
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| |
| Hong Kong: Cantonese, Kung-Fu, and a New Wave | |
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| Bodies in Motion: The Violent Art of Kung-Fu Films | |
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| Rolling with the Punches: Hong Kong's "New Wave" | |
| |
| |
| Benching the Benshi: Japan's Illustrious Century | |
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| Japan's Modern Masters | |
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| The Master: The Art of Akira Kurosawa | |
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| How to Watch a Kurosawa Film | |
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| |
| |
| Third (World) Cinema | |
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| |
| Colonialism, Neocolonialism, Postcolonialism | |
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| |
| Politics and Filmmaking | |
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| |
| Filmmaking Collectives | |
| |
| |
| Local Color | |
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| |
| U.S. and Them | |
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| |
| Africa | |
| |
| |
| India | |
| |
| |
| Latin America | |
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| Argentina | |
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| Brazil | |
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| Mexico | |
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| The Middle East | |
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| Egypt | |
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| |
| Israel | |
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| |
| Films Worth Remembering | |
| |
| |
| |
| The Aesthetics, Technologies, and Artistry of Film | |
| |
| |
| |
| Frame and Mise-en-Scene: Film and Its Space | |
| |
| |
| The Mise-en-Scene Really Means Everything, Almost | |
| |
| |
| A Little History | |
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| |
| Control Freaks vs. the Look of Reality | |
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| |
| Elements of the Mise-en-Scene | |
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| |
| Aleatory vs. Artificial Cinema | |
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| |
| Framing: Mr. Inside-Outside | |
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| |
| Spatially Speaking | |
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| Composition | |
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| Lighting Up the Room | |
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| Character Placement | |
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| Decor | |
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| Films Worth Remembering | |
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| Director's Cut: Calling the Shots | |
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| Rating the Directors | |
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| How to Recognize a Great Director | |
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| |
| Technical, Aesthetic, and Political Innovation | |
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| |
| Social Impact | |
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| Contemporary Impact | |
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| Continuing Influence | |
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| |
| Lasting Recognition | |
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| |
| Theories of Directing | |
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| |
| Auteur Theory | |
| |
| |
| Filmmaker as Traditional Artist | |
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| |
| Filmmaker as Social Conduit | |
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| |
| The Directors | |
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| |
| Western and Central European Directors | |
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| Eastern European Director | |
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| Third-World Director | |
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| |
| Hollywood Director | |
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| |
| Avant-Garde Director | |
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| |
| Some Films on Directing | |
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| |
| |
| The Fine Art of Camera Movement | |
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| Tracking the History of Camera Movement | |
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| The Primitive Era | |
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| The Five Basic Techniques of Camera Movement | |
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| The Camera Moves in Relation to Something | |
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| The Camera Moves in Relation to People | |
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| The Camera Can Move in Relation to Things | |
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| People Move in Relation to the Camera | |
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| Characters Move in Relation to Each Other | |
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| The Framing of a Picture Can Move | |
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| No Motion Is Good Motion | |
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| Films Whose Movement Is Worth Watching | |
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| Color My World | |
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| Blitz-Klieg: A Brief History of Black-and-White Film | |
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| Black-and-White Film Stock | |
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| Early Lighting for Early Film | |
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| A Condensed History of Color | |
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| Coloring in the Lines: Hand-Coloring | |
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| Coloring in the Lines: Stenciling | |
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| Totally Tinted | |
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| Killer Color: The Technicolor Solution | |
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| Post-Technicolor Technologies | |
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| The Aesthetics of Black and White and Color | |
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| Black and White and Technicolor in Hollywood's Golden Era | |
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| Black and White | |
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| Black and White Today | |
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| The Golden Era: Color Classic | |
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| Black and Blue: Using All the Crayons in the Box | |
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| Self-Reflexivity and Other Kinds of Color | |
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| The Politics of Color: The Contemporary Scene | |
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| Draining Away and Saturating with Color | |
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| Famous Instances of Black and White and Color | |
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| Making the Cut: Film Editing | |
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| Fade In: A Brief History of Editing | |
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| Before Editing | |
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| "Primitive" Editing | |
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| Griffith and Beyond | |
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| In Editing, Sometimes Less Is More | |
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| Editing Today | |
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| The Purposes of Editing | |
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| Determine the Speed at Which Events Move Along | |
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| Give or Withhold Information | |
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| Determine Your Feeling for Events and Characters | |
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| The Illusion of Unity | |
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| Cutting for Content | |
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| Cutting to Continuity | |
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| Parallel Editing | |
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| |
| Match on Action | |
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| |
| Eyeline Match | |
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| Flashback | |
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| |
| Cutting for Chaos | |
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| The Manner of Cutting | |
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| From Shooting to the Final Product | |
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| Before the Cutting: Storyboarding and Shooting | |
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| The Editing Process | |
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| Some Films Whose Editing Is Worth Visiting | |
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| |
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| BOOM! The Sonic Side of Film | |
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| |
| A Brief History of Sound in Movies | |
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| You Ain't Heard Nothing Yet: Before Sound | |
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| Inventing Sound | |
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| Look Who's Talking: Sound Changes the Industry | |
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| Bring on Da Noise: Synchronous and Nonsynchronous Sound | |
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| |
| Sound Effects and their Functions | |
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| Simulating Reality | |
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| Adding or Creating Something That Is Not Really There | |
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| Creating a Mood | |
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| A Musical Interlude | |
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| Music: In or Out of the Plot | |
| |
| |
| Musicals | |
| |
| |
| Some Sound Worth Hearing | |
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| |
| |
| Artists or Stars? The Aesthetics of Acting | |
| |
| |
| Playing the Human Instrument | |
| |
| |
| Film Acting vs. Theater Acting | |
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| |
| The Star System | |
| |
| |
| The Schools of Film Acting | |
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| |
| The Repertory System | |
| |
| |
| "The Method" to Their Madness | |
| |
| |
| "You talkin' to me?": Improvisation and Amateurs | |
| |
| |
| "The Actor's Director": Priming the Prima Donnas | |
| |
| |
| The 14 Most Influential American Film Actors and Actresses | |
| |
| |
| |
| Becoming a Filmophile--For Life! | |
| |
| |
| |
| An Idiot's Guide to Film Theory | |
| |
| |
| What Do We Mean by Theory? | |
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| |
| Movie Reviews | |
| |
| |
| Film Criticism | |
| |
| |
| Theory of Cinema | |
| |
| |
| A History of Film Theory: Plato to Pluralism | |
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| |
| Theory to Go | |
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| |
| Traditional Aesthetics: It's Art, for Pete's Sake | |
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| |
| Marx at the Movies | |
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| Historicism | |
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| |
| Cinema and Psychoanalysis | |
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| Gender | |
| |
| |
| Race, Multicultural, and Ethnic Theory | |
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| |
| Structuralism and Semiotics | |
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| |
| Further Reading | |
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| |
| |
| From Theory to Practice: Putting It All Together | |
| |
| |
| Why Nosferatu? | |
| |
| |
| Unpacking Nosferatu: Plot, Aesthetics, and Technique | |
| |
| |
| Mise-en-Scene | |
| |
| |
| Camera Work | |
| |
| |
| Editing Counts | |
| |
| |
| Special Effects | |
| |
| |
| Acting Up a Storm | |
| |
| |
| Low-Key but Not Laid-Back Lighting | |
| |
| |
| Specters of Nosferatu: Theorizing the Film | |
| |
| |
| Negotiating Nosferatu: A Marxist Approach | |
| |
| |
| What Lies Beneath: A Psychoanalytic Approach | |
| |
| |
| Vamping with the Vampire: Gender and Sexuality | |
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| |
| Nosferatu, the Nazis, and the Jews | |
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| |
| Tying It All Together | |
| |
| |
| A Dozen Films to Compare | |
| |
| |
| What Now? | |
| |
| |
| Appendixes | |
| |
| |
| |
| Other Good Books on Movies, Flicks, and Film | |
| |
| |
| |
| Major North American Film Festivals | |
| |
| |
| |
| Movie-Related Web Sites and Video Distributors | |
| |
| |
| |
| Glossary | |
| |
| |
| Index | |