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| Preface | |
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| Acknowledgments | |
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| (1820-1933) Foundations of the Nonfiction Film | |
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| Reality Perceived and Recorded | |
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| From Memory to Movement | |
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| Persistence of Vision: Theories and Technologies | |
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| Still Photography | |
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| Series Photography | |
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| Cinematography | |
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| The Realist Impulse in Nineteenth-Century Art | |
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| The First Films | |
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| The First Films | |
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| Louis and Auguste Lumiere | |
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| The Lumieres' Contribution to Technology | |
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| The Lumiere Films | |
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| The Lumieres and Thomas A. Edison | |
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| The Lumieres' Overall Contribution to the Nonfiction Film | |
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| The Factual Film After the Lumieres | |
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| The Nonfiction Film and War: 1898-1918 | |
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| Before World War I | |
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| World War I: 1914-18 | |
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| British and Allied Films | |
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| German War Films | |
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| U.S. Government Films about World War I | |
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| American Commercial Films about World War I | |
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| Exploration, Romanticism, and the Western Avant-Garde | |
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| Factual Films of Travel and Exploration | |
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| Film and the American West | |
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| Films about Native Americans | |
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| The American Romantic Tradition | |
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| Robert Flaherty | |
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| Merian C. Cooper and Ernest Schoedsack | |
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| The Soviet Naturalist Tradition | |
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| Alexander Dovzhenko | |
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| The Western Avant-Garde | |
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| Alberto Cavalcanti | |
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| Walther Ruttmann | |
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| Joris Ivens | |
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| The Beginnings of the Documentary Film | |
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| Beginnings of the Soviet Propagandist Tradition | |
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| Dziga Vertov | |
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| Esther Shub and the Compilation Film | |
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| John Grierson and the Early British Documentary Film | |
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| Empire Marketing Board Film Unit | |
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| (1933-1939) Documentary Films to Change the World | |
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| The British Documentary Movement: 1933-1945 | |
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| General Post Office Film Unit Under John Grierson: 1933-37 | |
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| Robert Flaherty and John Grierson: Industrial Britain (1933) | |
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| Basil Wright: The Song of Ceylon (1934) | |
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| Basil Wright and Harry Watt: Night Mail (1936) | |
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| Grierson's Influence | |
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| GPO Film Unit After John Grierson: 1937-40 | |
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| The Independent Documentary Film: Production Outside the GPO Film Unit | |
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| Overall Achievements of British Documentary Film Movement in the 1930s | |
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| European and Asian Nonfiction Film: 1930-1939 | |
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| Beginnings of the Film on Art | |
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| The Netherlands | |
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| Joris Ivens | |
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| John Ferno | |
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| Belgium | |
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| Charles Dekeukeleire | |
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| Andre Cauvin | |
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| Henri Storck | |
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| Sweden | |
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| Denmark | |
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| Spain | |
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| Germany | |
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| Organization of the Nazi Propaganda Film Effort | |
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| Nazi Ideology | |
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| Prewar Nazi Propaganda Films | |
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| Leni Riefenstahl | |
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| Triumph of the Will (1935) | |
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| Olympia (1938) | |
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| Japan | |
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| India | |
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| China | |
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| American Nonfiction Film: 1930-1939 | |
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| Beginnings of the American Film on Art | |
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| Robert Flaherty: The Romantic Tradition Continues | |
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| Man of Aran (1934) | |
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| Joris Ivens: The European Political Documentary Comes to America | |
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| American Film on the Left: 1930-42 | |
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| The Workers' Film and Photo League of America (1930-35) | |
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| Nykino (1935-37) | |
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| Frontier Film Group (1936-42) | |
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| Native Land (1942) | |
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| Pare Lorentz | |
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| The Plow That Broke the Plains (1936) | |
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| The River (1937) | |
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| The United States Film Service | |
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| The Fight for Life (1940) | |
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| Robert Flaherty and The Land (1942) | |
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| Screen Journalism | |
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| American Newsreel During the 1930s | |
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| "The March of Time" (1935-51) | |
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| "This is America" (1942-51) | |
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| Willard Van Dyke | |
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| The City (1939) | |
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| (1939-1945) Nonfiction Films for World War II | |
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| British Films for World War II | |
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| Organizing for War-Film Production | |
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| Concerns of British Wartime Films | |
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| Domestic Defense | |
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| Firefighting | |
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| Wartime Living Conditions | |
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| Training Films for Civilians and the Armed Forces | |
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| Farming, Gardening, Food, and Nutrition | |
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| Health | |
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| Wartime Industry | |
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| Britain and the Sea | |
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| Labor, Women, and Youth | |
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| Anti-Enemy Propaganda | |
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| Combat Films | |
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| Envisioning the Postwar World | |
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| Grierson and the National Film Board of Canada | |
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| European and Asian Films for World War II | |
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| Axis Films | |
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| The Nazi Propaganda Film | |
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| Wartime Nazi Propaganda Films | |
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| Films about Germany | |
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| Films about the Enemy | |
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| Japan | |
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| Italy | |
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| Anti-Axis Films | |
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| Russia | |
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| China | |
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| French Cinema of the Occupation and Resistance | |
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| Vichy Government Propaganda Films | |
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| Films of the French Resistance | |
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| American Films for World War II | |
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| American Propaganda and Counterpropaganda for World War II | |
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| United States Office of War Information | |
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| Frank Capra: Military Training and Civilian Information Films | |
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| The "Why We Fight" Series | |
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| Incentive Films | |
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| Combat Films | |
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| John Ford | |
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| John Huston | |
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| Films on the Effects of War | |
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| (1945-1960) Nonfiction Films After World War II | |
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| British Nonfiction Film after World War II | |
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| Great Britain After the War | |
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| The British Film Industry | |
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| The Continuing Documentary Tradition | |
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| British Free Cinema: 1956-59 | |
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| European, Asian, and Canadian Nonfiction Film after World War II | |
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| Europe | |
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| Italy | |
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| Neorealism | |
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| Films on Art | |
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| Belgium | |
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| Films on Domestic Subjects | |
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| Films on Colonial Subjects | |
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| Films on Art | |
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| France | |
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| Alain Resnais | |
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| Georges Franju | |
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| Films on Art | |
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| Other European Films | |
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| Asia | |
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| India | |
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| Japan | |
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| China | |
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| Canada | |
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| The National Film Board of Canada | |
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| American Nonfiction Film after World War II | |
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| Postwar Government Film Production | |
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| The United States Information Agency | |
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| Television Documentary | |
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| Postwar Independent Film Production | |
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| Robert Flaherty and Louisiana Story (1948) | |
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| Independent Films of the 1950s | |
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| Children | |
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| Health | |
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| Labor | |
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| Urban Life | |
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| Random Observations of American Life | |
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| Ethnographic Film Records of Foreign Cultures | |
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| Films on Art | |
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| Film Biographies | |
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| Documenting War | |
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| (1960-1985) Continuing Traditions and New Directions | |
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| American Renaissance in the 1960s: The New Nonfiction Film | |
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| Cinema Verite and Direct Cinema | |
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| Cinema Verite: Historical and Theoretical Origins | |
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| Cinema Verite and Direct Cinema: A Comparison and Contrast | |
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| American Direct Cinema | |
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| Major Direct Cinema Filmmakers and Films | |
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| Robert Drew | |
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| Richard Leacock | |
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| Donn Alan Pennebaker | |
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| American Nonfiction Film Outside the Direct Cinema Movement | |
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| National Politics, Elections, and Leaders | |
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| Justice and Civil Rights | |
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| Youth | |
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| Poverty | |
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| Vietnam | |
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| National Defense | |
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| Society | |
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| Native Americans | |
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| Foreign Subjects | |
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| Portraits | |
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| Canadian Film | |
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| Canadian Arts, Culture, and Personalities | |
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| Human Relationships | |
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| Political Conscience | |
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| Tradition and Change in the 1970s | |
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| New American and European Masters of the Nonfiction Film | |
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| Albert and David Maysles | |
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| Frederick Wiseman | |
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| Emile De Antonio | |
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| Louis Malle | |
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| Marcel Ophuls | |
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| American Independent Filmmaking | |
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| British and European Independent Filmmaking | |
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| American and European Films on Art | |
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| American Films on Art | |
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| European Films on Art | |
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| New Voices of the 1980s | |
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| Issues Shaping Nonfiction Film in the 1980s | |
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| Liberation Filmmaking | |
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| Films by and about Women | |
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| Films by Lesbians and Gay Men | |
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| Nonfiction Film in Third World and Non-Western Countries | |
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| India | |
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| East and Southeast Asia | |
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| Latin America | |
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| The Middle East and Africa | |
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| Afterword: One Hundred Years of Nonfiction Film | |
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| Legacy of the 1980s | |
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| Developing Technologies | |
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| Financing and Distribution | |
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| Film Theory and Criticism | |
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| Notes | |
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| Works Cited | |
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| Index of Film Titles | |
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| Index of Names | |