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| Preface | |
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| Acknowledgments | |
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| List of Figures | |
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| List of Box Sections | |
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| Introduction: Taking Hollywood Seriously | |
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| 'Metropolis of Make-Believe' | |
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| Art and Business | |
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| The Commercial Aesthetics of Titanic | |
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| A Classical Cinema? | |
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| Hollywood and Its Audiences | |
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| Ratings and Franchises | |
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| Hollywood's World | |
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| Summary | |
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| Notes for Further Reading | |
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| Entertainment 1 | |
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| Escape | |
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| Money on the Screen | |
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| The Multiple Logics of Hollywood Cinema | |
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| Summary | |
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| Notes for Further Reading | |
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| Entertainment 2 | |
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| The Play of Emotions | |
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| Regulated Difference | |
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| Singin' in the Rain: How to Take Gene Kelly Seriously | |
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| Summary | |
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| Notes for Further Reading | |
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| Genre | |
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| Introduction | |
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| Genre Criticism | |
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| Genre Recognition | |
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| The Empires of Genres: Pat Garrett and Billy the Kid | |
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| Genre and Gender | |
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| Summary | |
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| Further Reading | |
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| Industry | |
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| Introduction | |
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| Distribution and Exhibition | |
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| Exporting America | |
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| Divorcement | |
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| The Studio System | |
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| The Star System | |
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| How Stars are Made: A Star Is Born (1937) | |
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| Summary | |
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| Further Reading | |
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| Industry 1948-1980 | |
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| Introduction | |
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| The Effects of Divorcement | |
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| Roadshows and Teenpix | |
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| Independents, Agents, and Television | |
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| Corporate Consolidation and the 'New Hollywood' | |
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| Ratings | |
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| Hollywood in the Multiplex | |
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| Summary | |
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| Further Reading | |
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| Industry Since 1980 | |
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| Introduction | |
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| Video and New Markets | |
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| The Pursuit of Synergy | |
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| Globalization | |
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| Independence | |
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| Summary | |
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| Further Reading | |
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| Technology | |
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| Introduction | |
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| Realism and the Myth of Total Cinema | |
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| Sound | |
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| Sunny Side Up | |
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| Color | |
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| Widescreen | |
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| Technology and Power | |
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| The Triumph of the Digital | |
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| Summary | |
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| Further Reading | |
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| Politics | |
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| Introduction | |
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| The Politics of Regulation | |
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| Hollywood Goes to Washington | |
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| Washington Goes to Hollywood | |
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| Representing the Political Machine | |
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| Controversy with Class: The Social Problem Movie | |
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| Ideology | |
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| Summary | |
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| Further Reading | |
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| Space 1 | |
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| Introduction | |
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| The Best View | |
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| Making the Picture Speak: Representation and Expression | |
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| The Optics of Expressive Space | |
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| Deep Space: Three-Dimensionality on a Flat Screen | |
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| Mise-en-sc?ne | |
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| Editing | |
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| Summary | |
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| Further Reading | |
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| Space 2 | |
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| The Three 'Looks' of Cinema | |
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| Points of View | |
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| Safe and Unsafe Space | |
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| Ordinary People | |
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| Summary | |
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| Further Reading | |
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| Performance 1 | |
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| Introduction | |
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| The Spectacle of Movement | |
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| The Movement of Narrative | |
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| Acting as Impersonation | |
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| The Actor's Two Bodies | |
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| Star Performance | |
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| Summary | |
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| Further Reading | |
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| Performance 2 | |
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| The Method | |
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| Acting as a Signifying System | |
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| Valentino | |
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| The Son of the Sheik (1926) | |
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| Summary | |
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| Further Reading | |
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| Time | |
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| Introduction | |
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| Time Out | |
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| Film Time | |
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| Movie Time | |
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| Deadlines and Coincidences: Madigan (1968) | |
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| Mise-en-temps | |
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| Tense | |
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| Back to the Present: History as a Production Value | |
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| The Politics of History: Forrest Gump (1994) | |
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| The Lessons of History: Juirez (1939) | |
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| Summary | |
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| Further Reading | |
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| Narrative | |
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| Narrative and Other Pleasures | |
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| Show and Tell | |
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| Theories of Narration | |
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| Plot, Story, Narration | |
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| Clarity: Transparency and Motivation | |
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| Summary | |
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| Further Reading | |
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| Narrative 2 | |
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| Regulating Meaning: The Production Code | |
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| Clarity and Ambiguity in Casablanca | |
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| Narrative Pressure | |
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| Summary | |
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| Further Reading | |
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| Criticism | |
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| Introduction | |
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| From Reviewing to Criticism | |
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| Early Theory and Criticism in America | |
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| From Criticism to Theory | |
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| Criticism in Practice: Only Angels Have Wings | |
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| Summary | |
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| Further Reading | |
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| Theories | |
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| Entering the Academy | |
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| Structuralism and Semiology | |
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| Cinema, Ideology, Apparatus | |
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| Psychoanalysis and Cinema | |
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| The Spectator | |
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| Feminist Theory | |
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| Neoformalism and Cognitivism | |
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| From R | |