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| Introduction | |
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| Pioneers: The Silent Era and the Transition to Sound | |
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| The Photoplay of Action | |
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| The Artistic Position of Douglas Fairbanks and The Thief of Bagdad Production | |
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| The Function of the Photoplay | |
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| The Cabinet of Dr. Caligari | |
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| Nanook of the North | |
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| A Woman of Paris | |
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| Manhandled | |
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| The Temptress | |
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| What Price Glory? | |
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| The Ten Commandments | |
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| Greed | |
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| The New Chaplin Comedy (The Gold Rush) | |
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| from Appendix from Moronia: Note on Technic | |
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| The Passion of Joan of Arc | |
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| The "Talkies" | |
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| "A" in the Art of the Movie and Kino | |
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| Remarks on D. W. Griffith | |
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| from An Hour with the Movies and the Talkies | |
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| Anna Christie | |
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| Good Art, Good Propaganda | |
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| King Kong | |
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| The Invisible Man | |
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| Parachute Jumper | |
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| Hallelujah I'm a Bum | |
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| Ladies They Talk About | |
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| Our Betters | |
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| King Kong | |
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| Night Flight | |
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| Camille | |
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| The Last of Mrs. Cheyney | |
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| Personal Property | |
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| Another Dawn | |
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| A Day at the Races | |
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| The Devil Is a Woman | |
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| The Future of Color | |
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| The Film Critic of Tomorrow | |
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| Dancing in Films | |
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| The Charge of the Light Brigade | |
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| Masters and Moonlighters: The Late 1930s, World War II, and the Postwar Era | |
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| It's Up to the Kiddies (Stand Up and Cheer) | |
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| Stars and Garters (Belle of the Nineties) | |
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| Artist Among the Flickers (Three Songs about Lenin) | |
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| Arms and Men (Lives of a Bengal Lancer) | |
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| Words and Music (Broadway Melody of 1936) | |
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| In a Dry Month (Hands across the Table) | |
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| Cagney: Great Guy | |
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| Through the Looking Glass (Stage Door) | |
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| Walt Disney's Grimm Reality (Snow White and the Seven Dwarfs) | |
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| Hitchcock in Hollywood (Foreign Correspondent) | |
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| For Better, For Worse (Time in the Sun) | |
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| Handsome Is... (High Sierra) | |
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| Citizen Welles | |
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| Welles and His Wonders: II | |
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| Gone with the Wind Is More Dangerous Than Birth of a Nation | |
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| Griffith and the Technical Innovations | |
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| The Song of Bernadette | |
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| Annual Wrap-Up of 1944 | |
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| A Great Film (The Story of G.I. Joe) | |
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| The Lost Weekend | |
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| Shoeshine | |
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| Day of Wrath | |
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| Introduction to From Caligari to Hitler | |
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| The Gangster as Tragic Hero | |
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| A Feeling of Sad Dignity (Limelight) | |
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| The Shadow and the Act | |
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| Got a Match? | |
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| The Golden Age of Movie Criticism: The 1950s through the 70s | |
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| The Reluctant War Hero (Casablanca) | |
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| Underground Films | |
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| White Elephant Art vs. Termite Art | |
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| Kitchen Without Kitsch (with Patricia Patterson) | |
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| Double into Quadruple Indemnity | |
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| Warhol's New Sex Film (Blue Movie) | |
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| A King in New York | |
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| Pather Panchali and Aparajito | |
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| A Note on La Belle, La Perfectly Swell, Romance | |
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| The Creative Joy of the Independent Film-Maker | |
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| Renoir and Plotless Cinema | |
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| Marilyn Monroe and the Loveless World (The Misfits) | |
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| On Andy Warhol's Sleep | |
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| Not Everything That Is Fun Is Cinema (A Hard Day's Night) | |
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| On Bresson and Une Femme Douce | |
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| The Misfits | |
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| L'Avventura | |
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| Lola Montes | |
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| The Birds | |
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| La Guerre Est Finie | |
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| Falstaff and A Countess from Hong Kong | |
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| Science Fiction: The Forbin Project | |
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| Billy Wilder | |
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| Billy Wilder Reconsidered | |
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| John Wayne's Strange Legacy | |
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| The Imagination of Disaster | |
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| Band of Outsiders | |
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| Funny Girl | |
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| Trash, Art, and the Movies | |
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| McCabe & Mrs. Miller | |
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| 8 1/2 | |
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| Cold Blood: Cheap Fiction | |
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| The Runners | |
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| Midnight Cowboy | |
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| The Wild Bunch | |
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| Easy Rider | |
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| Z | |
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| They Shoot Horses, Don't They? | |
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| Patton | |
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| Zabriskie Point | |
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| Is Fiddler More De Mille Than Sholem Aleichem? | |
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| These Are a Few of My Favorite Things | |
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| Bunuel | |
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| The Woman's Film | |
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| Sophisticated Interiors | |
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| Melancholy Males or Movies About Men Turning 50 | |
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| Notes on Film Noir | |
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| The Last Picture Show | |
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| Jaundice of the Soul (Chinatown) | |
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| Blue Notes | |
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| M*A*S*H | |
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| from The Devil Finds Work (Lady Sings the Blues) | |
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| The Bitter Tears of Petra von Kant | |
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| Reconsiderations and Renegade Perspectives: The 1980s to the Present | |
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| The Keaton Quiet | |
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| Bad Movies | |
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| The Film Critic of Tomorrow, Today | |
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| Cons and Pros (The Lady Eve) | |
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| Blue Velvet | |
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| Sam Fuller: Movie Bozo | |
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| Rebirth of a Nation (Do the Right Thing) | |
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| Malcolm X'd Again (Malcolm X) | |
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| The Real Thing | |
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| The Italian System | |
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| A Boy Named Sioux (Dances with Wolves) | |
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| Cary Grant | |
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| Howard Hawks | |
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| Cool Cynicism: Pulp Fiction | |
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| Titanic Sinks Again (Spectacularly) | |
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| In Dreams Begin Responsibilities (Eyes Wide Shut) | |
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| Trouble in Paradise | |
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| Gladiator | |
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| Imitation of Life | |
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| Of Love and the City (In the Mood for Love) | |
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| On Val Lewton's The Seventh Victim | |
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| Ratpacks and Pack Males | |
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| Saying "Ain't" and Playing "Dixie": Rhetoric and Comedy in Judge Priest | |
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| Good and Evil Locked in Violent Showdown (The Passion of the Christ) | |
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| The Most Overrated Film of the Year (Sideways) | |
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| High Hopes (The Royal Tenenbaums) | |
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| Not-So-Nice Kitty (The Cat in the Hat) | |
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| Once Disaster Hits, It Seems Never To End (A History of Violence) | |
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| Sources and Acknowledgments | |