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| List of Illustrations and Credits | |
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| Preface | |
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| Acknowledgments | |
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| Abbreviations | |
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| To the Top | |
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| Chaplin, the Early Films, and the Rise to Stardom | |
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| The Rough-Edged Diamond: Charlie at Keystone | |
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| "Chaplinitis": Charlie at Essanay | |
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| The Genteel Tradition and the "Vulgar" Charlie | |
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| Romance and Pathos: The "Refining" of Charlie | |
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| The Perils of Popularity | |
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| Chaplin's Star Image in the Mutual Period | |
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| The Further "Refining" of Charlie | |
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| Chaplin the "Slacker"? | |
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| The First Marriage and Divorce | |
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| Troubles at First National | |
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| At the Top: Charlie and the 1920s | |
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| From The Kid to The Gold Rush | |
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| Finishing Up at First National | |
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| Interviews and Writings in the Early 1920s | |
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| Branching Out: A Woman of Paris | |
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| Creating an Epic: The Gold Rush | |
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| Cultivating the Intelligentsia | |
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| Struggling through the Twenties | |
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| Chaplin and Lita Grey | |
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| Mixed Reviews: The Press and the Second Divorce | |
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| The Burdens of Being Funny: The Circus | |
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| Charlie and the Threat of the Talkies | |
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| Farewell to the Twenties: City Lights | |
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| The Challenge of Progressive Politics | |
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| The Depression, the World Tour, and Modern Times | |
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| A Comedian Sees--and Comments on--the World | |
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| Critics, Artists, and Depression America | |
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| Chaplin's Public Politics before 1936 | |
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| Modern Times: Production, Publicity, and Promotion | |
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| Modern Times: Political Ambiguity and Critical Response | |
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| The Popular Front, The Great Dictator, and the Second Front, 1936-1942 | |
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| The Popular Front and American Antifascism | |
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| The Great Dictator: Preparation, Production, and Promotion | |
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| The Great Dictator and the Aesthetic Contract | |
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| Critical, National, and International Reaction to The Great Dictator | |
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| Chaplin and the Second Front | |
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| Unraveling | |
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| Joan Barry, the Press, and the Tarnished Image | |
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| The Affair | |
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| Chaplin, Barry, and the Courts | |
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| Chaplin, Barry, and the Gossip Columnists | |
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| The Press and the Barry-Chaplin Story | |
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| Monsieur Verdoux and the Cold War: Irreconcilable Differences | |
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| The Hollywood Emigres | |
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| The Cooling of Progressivism in Early Postwar America | |
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| Lashing Out: Monsieur Verdoux | |
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| Monsieur Verdoux: Initial Promotion and Reception | |
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| The Campaign That Failed | |
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| Chaplin's Politics and American Culture, 1943-1952 | |
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| Chaplin the Progressive Activist, 1943-1949 | |
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| Chaplin and the U.S. Congress | |
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| Chaplin and the FBI: The Internal Security File | |
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| Backing Away from Politics, 1950-1952 | |
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| Limelight and Banishment: The Futility of Reconciliation | |
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| Chaplin, the U.S. Government, and Banishment, 1952-1953 | |
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| Limelight: Autobiography and the Aesthetic Contract | |
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| Critical Response to Limelight | |
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| The Press and Banishment | |
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| The Limelight Boycott and Chaplin's Star Image | |
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| The Exile and America | |
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| The Exiled Monarch and the Guarded Restoration, 1953-1977 | |
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| Running Battles: Chaplin, American Culture, and the Later 1950s | |
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| Shifting Winds: The 1960s | |
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| A Guarded Restoration: The 1972 Return Tour | |
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| Rereleases and Chaplin's Star Image in the 1970s | |
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| Epilogue | |
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| Notes | |
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| Select Bibliography | |
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| Index | |