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| Preface | p. vii |
| Birth and Childhood of a New Art - 1895-1914 | p. 1 |
| Brief Motion-Picture Records of Actuality and of Performances | p. 1 |
| Telling Stories through Staged and Filmed Pantomime | p. 6 |
| Telling Stories through Filmic Means | p. 10 |
| The Language of Film | p. 16 |
| Increasing Films to Feature Length | p. 20 |
| Films of the Period | p. 24 |
| Books on the Period | p. 25 |
| Rise of the American Film - 1914-1919 | p. 26 |
| The First American Epics | p. 27 |
| A Tradition of Screen Comedy Is Established | p. 38 |
| Emerging Patterns of Industry | p. 45 |
| Films of the Period | p. 49 |
| Books on the Period | p. 49 |
| Great German Silents - 1919-1928 | p. 51 |
| Predominant Types and Themes | p. 52 |
| Principal Technical and Stylistic Advances | p. 60 |
| Mirror of the Culture | p. 66 |
| Influence on Hollywood | p. 66 |
| Films of the Period | p. 68 |
| Books on the Period | p. 69 |
| Art and Dialectic in the Soviet Film - 1925-1929 | p. 70 |
| Historical Setting | p. 71 |
| Beginnings | p. 72 |
| Three Silent Masters | p. 75 |
| Montage: Theory and Practice | p. 83 |
| Films of the Period | p. 87 |
| Books on the Period | p. 87 |
| Hollywood in the Twenties - 1919-1929 | p. 88 |
| Movies Become Big Business | p. 88 |
| Ascendancy of the Director | p. 91 |
| Popular Genres | p. 97 |
| Sound Arrives | p. 104 |
| Films of the Period | p. 110 |
| Books on the Period | p. 111 |
| France in the Twenties and Thirties - 1919-1939 | p. 112 |
| The First Avant-Garde: Impressionism | p. 113 |
| The Second Avant-Garde: Pure Cinema | p. 115 |
| The Golden Age of the 1930s | p. 117 |
| Films of the Period | p. 125 |
| Books on the Period | p. 126 |
| Hollywood in the Thirties and Early Forties - 1929-1945 | p. 127 |
| The Industry | p. 128 |
| Censorship, Self-Regulation, and Pressure Groups | p. 131 |
| Notable Directors of the 1930s | p. 132 |
| Emergent Genres in the 1930s | p. 137 |
| Wartime | p. 150 |
| A 1940s Genre: Film Noir | p. 152 |
| Orson Welles: Boy Genius | p. 155 |
| Films of the Period | p. 157 |
| Books on the Period | p. 159 |
| Postwar Italy: Neorealism and Beyond - 1945- | p. 161 |
| Theory and Practice of Neorealism | p. 163 |
| Two Major Directors of the Neorealist Era | p. 166 |
| Period of Transition: 1952-1960 | p. 168 |
| Emergence of a New Style: Three Directors of the 1960s | p. 170 |
| Neo-Neorealism: Three Directors of the 1960s and 1970s | p. 180 |
| The 1970s and Beyond: A New Generation of Film Makers | p. 182 |
| Films of the Period | p. 189 |
| Books on the Period | p. 192 |
| British Film after the War: Humor, Horror, and Social Criticism - 1945- | p. 193 |
| The Griersonian Documentary Tradition | p. 194 |
| Postwar Comedies | p. 196 |
| Free Cinema and Social-Realist Features | p. 199 |
| The Gothic Strain | p. 204 |
| Americans Abroad | p. 210 |
| State of the Industry | p. 214 |
| Films of the Period | p. 216 |
| Books on the Period | p. 219 |
| Films of the Auteurs: The French New Wave and After - 1954- | p. 220 |
| Auteurism | p. 220 |
| Precursors to the New Wave | p. 222 |
| The New Wave Arrives | p. 225 |
| New Wave Directors | p. 231 |
| Left Bank Directors and Others | p. 236 |
| New Politics and New Theories of Authorship | p. 241 |
| After the New Wave | p. 243 |
| Films of the Period | p. 249 |
| Books on the Period | p. 252 |
| Other Western European Cinemas: National Cinemas or Eurofilms? - 1945- | p. 253 |
| Scandinavia | p. 254 |
| Germany | p. 261 |
| Spain | p. 269 |
| Films of the Period | p. 276 |
| Books on the Period | p. 279 |
| Eastern European Cinema: Film Making for the State - 1954- | p. 280 |
| Poland | p. 282 |
| Hungary | p. 290 |
| Czechoslovakia | p. 293 |
| Yugoslavia | p. 298 |
| The Soviet Union and After | p. 301 |
| Films of the Period | p. 307 |
| Books on the Period | p. 311 |
| Japanese Film: A Pictorial Tradition and a Modernist Edge - 1951- | p. 312 |
| The Japanese Style | p. 313 |
| Three Japanese Masters | p. 315 |
| Other Japanese Film Makers of the Classic Era | p. 322 |
| The Japanese New Wave | p. 324 |
| Recent Developments | p. 327 |
| Films of the Period | p. 329 |
| Books on the Period | p. 331 |
| Other Asian Film-Making Traditions - 1956- | p. 332 |
| India: Film and National Identity | p. 332 |
| China: Three Cinemas | p. 340 |
| Films of the Period | p. 351 |
| Books on the Period | p. 353 |
| Hollywood in Transition - 1945-1962 | p. 354 |
| Television | p. 355 |
| New Screen Processes | p. 357 |
| Fall of the Studios, Rise of the Independents | p. 361 |
| Internationalization | p. 362 |
| Loosened Controls on Content | p. 363 |
| Liberalism, Communism, and Anti-Communism: The House Un-American Activities Committee and Blacklisting | p. 367 |
| Major Genres | p. 370 |
| American Directors of the 1950s | p. 375 |
| Films of the Period | p. 380 |
| Books on the Period | p. 381 |
| American Reemergence - 1963-1974 | p. 382 |
| Popular Genres | p. 383 |
| The American New Wave | p. 385 |
| Independent Voices | p. 395 |
| Films of the Period | p. 402 |
| Books on the Period | p. 403 |
| Recent National Movements - 1959- | p. 404 |
| Latin America | p. 404 |
| Africa | p. 415 |
| Australia | p. 417 |
| Canada | p. 422 |
| Iran | p. 426 |
| Films of the Period | p. 429 |
| Books on the Period | p. 434 |
| Here and Now: United States - 1975- | p. 435 |
| The Economy and Technology | p. 435 |
| Emerging Genres | p. 440 |
| Studio Stalwarts | p. 448 |
| Independent Voices | p. 453 |
| Multicultural Agendas | p. 459 |
| Multinationalism | p. 469 |
| Films of the Period | p. 471 |
| Books on the Period | p. 474 |
| Index | p. 475 |
| Table of Contents provided by Syndetics. All Rights Reserved. |
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