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| Introduction | |
| Ugetsu: Why Is It a Masterpiece? | p. 3 |
| Kenji Mizoguchi: A Biographical Sketch | p. 17 |
| Ugetsu | |
| Credits and Cast | p. 26 |
| The Continuity Script | p. 29 |
| Contexts | |
| Sources | |
| "The House Amid the Thickets" and "The Lust of the White Serpent" | p. 79 |
| Preproduction: The Script | |
| Letter from Kenji Mizoguchi to His Scriptwriter Yoshikata Yoda | p. 103 |
| Reviews and Commentaries | |
| Reviews | |
| Kinema Jumpo | p. 117 |
| New York Times | p. 119 |
| Motion Picture Herald | p. 121 |
| Time | p. 122 |
| Art | p. 123 |
| The Observer | p. 125 |
| Films and Filming | p. 127 |
| Commentaries | |
| What Is Mise-en-Scene? | p. 131 |
| Distance and Beauty in the Films of Mizoguchi | p. 134 |
| The Master Mizoguchi in Six Critical Perspectives: Ugetsu | p. 137 |
| Mizoguchi Kenji | p. 143 |
| Mizoguchi: The Ghost Princess and the Seaweed Gatherer | p. 145 |
| The Samurai Film without Samurai | p. 157 |
| Ugetsu | p. 158 |
| The Subject and Form of Traditional Theater Made into a Film - Ugetsu | p. 162 |
| Filmography and Bibliography | |
| Mizoguchi Filmography, 1923-1956 | p. 169 |
| Selected Bibliography | p. 175 |
| Table of Contents provided by Blackwell. All Rights Reserved. |
