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| Preface | |
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| Introduction: Film History and How It Is Done | |
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| Why Do We Care About Old Movies? | |
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| What do Film Historians Do? | |
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| Our Approach to Film History | |
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| History as Story | |
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| Early Cinema | |
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| The Invention and Early Years of the Cinema, 1880s-1904 | |
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| The Invention of the Cinema | |
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| Early Filmmaking and Exhibition | |
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| The International Expansion of the Cinema, 1905-1912 | |
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| Film Production in Europe | |
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| The Struggle for the Expanding American Film Industry | |
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| The Problem of Narrative Clarity | |
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| National Cinemas, Hollywood Classicism and World War I, 1913-1919 | |
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| The American Takeover of World Markets | |
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| The Rise of National Cinemas | |
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| The Classical Hollywood Cinema | |
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| Small Producing Countries | |
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| The Late Silent Era, 1919-1929 | |
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| France in the 1920s | |
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| The French Film Industry after World War I | |
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| Major Postwar Genres | |
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| The French Impressionist Movement | |
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| The End of French Impressionism | |
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| Germany in the 1920s | |
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| The German Situation after World War I | |
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| Genres and Styles of German Postwar Cinema | |
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| Major Changes in the Mid- to Late 1920s | |
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| The End of the Expressionist Movement | |
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| New Objectivity | |
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| Export and Classical Style | |
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| Soviet Cinema in the 1920s | |
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| The Hardships of War Communism, 1918-1920 | |
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| Recovery under the New Economic Policy, 1921-1924 | |
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| Increased State Control and the Montage Movement, 1925-1930 | |
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| Other Soviet Films | |
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| The Five-Year Plan and the End of the Montage Movement | |
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| The Late Silent Era in Hollywood, 1920-1928 | |
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| Theater Chains and the Structure of the Industry | |
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| The Motion Picture Producers and Distributors of America | |
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| Studio Filmmaking | |
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| Films for African-American Audiences | |
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| The Animated Part of the Program | |
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| International Trends of the 1920s "Film Europe" | |
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| The "International Style" | |
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| Film Experiments Outside the Mainstream Industry | |
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| Documentary Features Gain Prominence | |
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| Commercial Filmmaking Internationally | |
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| The Development of Sound Cinema, 1926-1945 | |
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| The Introduction of Sound | |
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| Sound in the United States | |
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| Germany Challenges Hollywood | |
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| The USSR Pursues Its Own Path to Sound | |
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| The International Adoption of Sound | |
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| The Hollywood Studio System, 1930 1945 | |
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| The New Structure of the Film Industry | |
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| Exhibition Practice in the 1930s | |
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| Continued Innovation in Hollywood | |
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| Major Directors | |
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| Genre Innovations and Transformations | |
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| Animation and the Studio System | |
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| Other Studio Systems | |
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| Quota Quickies and Wartime Pressures: The British Studios | |
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| Innovation within an Industry: The Studio System of Japan | |
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| India: An Industry Built on Music | |
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| China: Filmmaking Caught between Left and Right | |
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| Cinema and the State: The USSR, Germany, and Italy, 1930-1945 | |
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| The Soviet Union: Socialist Realism and World War II | |
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| The German Cinema under the Nazis | |
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| Italy: Propaganda versus Entertainment | |
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| France: Poetic Realism, the Popular Front and the Occupation, 1930-1945 | |
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| The Industry and Filmmaking during the 1930s | |
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| Poetic Realism | |
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| Brief Interlude: The Popular Front | |
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| Filmmaking in Occupied and Vichy France | |
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| Leftist, Documentary, and Experimental Cinema, 1930-1945 | |
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| The Spread of Political Cinema | |
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| Government- and Corporate-sponsored Documentaries | |
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| Wartime Documentaries | |
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| The International Experimental Cinema | |
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| The Postwar Era, 1946-1960s | |
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| American Cinema in the Postwar Era, 1946-1960 1946/1947/1948 | |
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| The Decline of the Hollywood Studio System | |
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| The New Power of the Individual Film | |
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| The Rise of the Independents | |
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| Classical Hollywood Filmmaking: A Continuing Tradition | |
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| Major Directors: Several Generations | |
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| Postwar European Cinema: Neorealism and its Context, 1945-1959 | |
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| The Postwar Context | |
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| Film Industries and Film Culture | |
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| Italy: Neorealism and After | |
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| A Spanish Neorealism? | |
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| Postwar European Cinema: France, Scandinavia, and Britain, 1945-1959 | |
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| French Cinema of the Postwar Decade | |
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| Scandinavian Revival | |
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| England: Quality and Comedy | |
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| Postwar Cinema Beyond the West, 1945-1959 | |
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| General Tendencies | |
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| Japan | |
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| Postwar Cinema in the Soviet Sphere of Influence | |
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| People's Republic of China | |
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| India | |
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| Latin America | |
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| Art Cinema and the Idea of Authorship | |
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| The Rise and Spread of the Auteur Theory | |
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| Authorship and the Growth of the Art Cinema | |
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| Luis Buñuel (1900-1983) | |
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| Ingmar Bergman (1918- ) | |
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| Akira Kurosawa (1910-1998) | |
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| Federico Fellini (1920-1993) | |
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| Michelangelo Antonioni (1912- ) | |
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| Robert Bresson (1907-1999) | |
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| Jacques Tati (1908-1982) | |
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| Satyajit Ray (1921-1992) | |
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| New Waves and Young Cinema, 1958-1967 | |
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| The Industries' New Needs | |
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| Formal and Stylistic Trends | |
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| France: New Wave and New Cinema | |
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| Italy: Young Cinema and Spaghetti Westerns | |
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| Great Britain: "Kitchen Sink" Cinema | |
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| Young German Film | |
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| New Cinema in the USSR and Eastern Europe | |
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| The Japanese New Wave | |
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| Brazil: Cinema Nôvo | |
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| Documentary and Experimental Cinema in the Postwar Era, 1945-Mid-1960s | |
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| Toward the Personal Documentary | |
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| Direct Cinema | |
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| Experimental and Avant-garde Cinema | |
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| The Contemporary Cinema Since the 1960s | |
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| Hollywood's Fall and Rise, 1960-1980 1960s: The Film Industry in Recession | |
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| The New Hollywood: Late 1960s-Late 1970s | |
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| Opportunities for Independents | |
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| Politically Critical Cinema of the 1960s and 1970s | |
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| Political Filmmaking in the Third World | |
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| Political Filmmaking in the First and Second Worlds | |
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| Documentary and Experimental Film Since the Late 1960s | |
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| Documentary Cinema | |
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| From Structuralism to Pluralism in Avant-garde Cinema | |
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| New Cinemas and New Developments: Europe and the USSR Since the 1970s | |
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| Western Europe | |
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| Eastern Europe and the USSR | |
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| A Developing World: Continental and Subcontinental Cinemas since 1970 New Cinemas, New Audiences | |
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| African Cinema | |
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| Filmmaking in the Middle East | |
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| South America and Mexico: Interrupted Reforms and Partnerships with Hollywood Brazil | |
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| India: Mass Output and Art Cinema | |
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| Cinema Rising: Pacific Asia and Oceania since 1970 | |
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| Australia and New Zealand | |
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| Japan | |
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| Mainland China | |
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| New Cinemas in East Asia | |
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| Cinema in the Age of New Media | |
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| American Cinema and the Entertainment Economy: The 1980s and After | |
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| Hollywood, Cable Television, and Home Video | |
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| Concentration and Consolidation in the Film Industry | |
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| Artistic Trends | |
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| New Age of Independent Cinema | |
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| Toward a Global Film Culture | |
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| Hollyworld? | |
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| Regional Alliances and the New International Film | |
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| Diasporic Cinema | |
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| The Festival Circuit | |
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| Video Piracy: An Alternative Distribution System | |
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| Fan Subcultures: Appropriating the Movies | |
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| Digital Technology and the Cinema | |
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| Digital Tools for Filmmaking | |
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| Distribution and Exhibition | |
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| New Media, Film, and Digital Convergence | |