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| Preface | |
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| Film Language | |
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| From Film Technique | |
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| [On Editing] | |
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| From Film Form | |
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| Beyond the Shot [The Cinematographic Principle and the Ideogram] | |
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| The Dramaturgy of Film Form [The Dialectical Approach to Film Form] | |
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| From What Is Cinema? | |
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| The Evolution of the Language of Cinema | |
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| Toward a Non-Bourgeois Camera Style | |
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| From Film Language | |
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| Some Points in the Semiotics of the Cinema | |
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| Problems of Denotation in the Fiction Film | |
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| The Discourse of Pictures: Iconicity and Film Studies | |
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| The Tutor-Code of Classical Cinema | |
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| The Spectator-in-the-Text: The Rhetoric of Stagecoach | |
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| Film and Reality | |
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| From Theory of Film | |
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| Basic Concepts | |
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| From From Caligari to Hitler | |
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| The Cabinet of Dr. Caligari | |
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| From What Is Cinema? | |
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| The Ontology of the Photographic Image | |
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| The Myth of Total Cinema | |
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| De Sica: Metteur-en-scene | |
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| From Film as Art | |
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| The Complete Film | |
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| Cinematography: The Creative Use of Reality | |
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| From Metaphors on Vision | |
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| The Apparatus: Metapsychological Approaches to the Impression of Reality in Cinema | |
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| From Mystifying Movies | |
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| Jean-Louis Baudry and "The Apparatus," | |
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| From Cinema 1 and Cinema 2 | |
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| Preface to the English Edition | |
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| The Origin of the Crisis: Italian Neo-realism and the French New Wave | |
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| Beyond the Movement-Image | |
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| True Lies: Perceptual Realism, Digital Images, and Film Theory | |
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| The Film Medium: Image and Sound | |
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| Style and Medium in the Motion Pictures | |
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| From Theory of Film | |
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| The Establishment of Physical Existence | |
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| From Theory of the Film | |
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| The Close-up | |
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| The Face of Man | |
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| From Film as Art | |
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| Film and Reality | |
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| The Making of a Film | |
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| From Philosophical Problems of Classical Film Theory | |
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| The Specificity Thesis | |
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| From Film/Cinema/Movie | |
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| Projection | |
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| From The World Viewed | |
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| Photograph and Screen | |
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| Audience, Actor, and Star | |
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| Types; Cycles as Genres | |
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| Ideas of Origin | |
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| Ideological Effects of the Basic Cinematographic Apparatus | |
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| Aural Objects | |
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| Statement on Sound | |
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| The Voice in the Cinema: The Articulation of Body and Space | |
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| Technology and Aesthetics of Film Sound | |
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| From Visible Fictions | |
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| Broadcast TV as Sound and Image | |
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| Film Narrative and the Other Arts | |
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| From The Film: A Psychological Study | |
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| The Means of the Photoplay | |
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| From What Is Cinema? | |
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| Theater and Cinema | |
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| From The World in a Frame | |
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| Acting: Stage vs. Screen | |
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| Dickens, Griffith, and Ourselves [Dickens, Griffith, and Film Today] | |
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| What Novels Can Do That Films Can't (and Vice Versa) | |
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| From Concepts in Film Theory | |
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| Adaptation | |
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| Narrative Discourse and the Narrator System | |
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| Film Music and Narrative Agency | |
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| The Concept of Cinematic Excess | |
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| Godard and Counter Cinema: Vent d'Est | |
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| 'Trashing' the Academy: Taste, Excess, and an Emerging Politics of Cinematic Style | |
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| The Film Artist | |
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| Notes on the Auteur Theory in 1962 | |
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| From Signs and Meaning in the Cinema | |
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| The Auteur Theory | |
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| How Howard Hawks Brought Baby Up: An Apologia for the Studio System | |
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| The Face of Garbo | |
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| From The Material Ghost | |
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| [Keaton and Chaplin] | |
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| From Visible Fictions | |
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| Stars as a Cinematic Phenomenon | |
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| From Film History: Theory and Practice | |
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| The Role of the Star in Film History [Joan Crawford] | |
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| From From Reverence to Rape | |
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| Female Stars of the 1940s | |
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| Pleasure, Ambivalence, Identification | |
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| Valentino and Female Spectatorship | |
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| From The Genius of the System | |
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| "The Whole Equation of Pictures" | |
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| Film Genres | |
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| From The World in a Frame | |
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| Genre: The Conventions of Connection | |
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| A Semantic/Syntactic Approach to Film Genre | |
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| From Hollywood Genres | |
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| Film Genre and the Genre Film | |
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| Movie Chronicle: The Westerner | |
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| Ideology, Genre, Auteur | |
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| Film Bodies: Gender, Genre, and Excess | |
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| Feminist Frameworks for Horror Films | |
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| The Terror of Pleasure: The Contemporary Horror Film and Postmodern Theory | |
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| The Art Cinema as a Mode of Film Practice | |
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| Film: Psychology, Ideology, and Technology | |
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| The Work of Art in the Age of Mechanical Reproduction | |
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| Cinema/Ideology/Criticism | |
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| From The Imaginary Signifier | |
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| Identification, Mirror | |
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| The Passion for Perceiving | |
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| Disavowal, Fetishism | |
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| Visual Pleasure and Narrative Cinema | |
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| From The Women Who Knew Too Much: Hitchcock and Feminist Theory | |
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| The Master's Dollhouse: Rear Window | |
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| An Aesthetic of Astonishment: Early Film and the (In)Credulous Spectator | |
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| Colonialism, Racism, and Representation: An Introduction | |
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| Black Spectatorship: Problems of Identification and Resistance | |
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| Digital Cinema: A False Revolution | |
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| The End of Cinema: Multimedia and Technological Change | |
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| Index | |