| Film Quarterly |
| ACKNOWLEDGMENTS |
 | INTRODUCTION |
 | PART ONE— EARLY DAYS |
| • | Beige, Brown, or Black |
| • | Recent Film Writing: A Survey |
| PART TWO— THEORY |
| • | Tense, Mood, and Voice in Film: (Notes after Genette) |
| • | The Critic as Consumer: Film Study in the University, Vertigo , and the Film Canon |
| Yellow Earth : Western Analysis and a Non-Western Text |
| • | Popular Culture and Oral Traditions in African Film |
| The Subversive Potential of the Pseudo-iterative |
| PART THREE— GENRE |
| Nightmare and the Horror Film: The Symbolic Biology of Fantastic Beings |
| • | Human Artifice and the Science Fiction Film |
| • | Confessions of a Feminist Porn Watcher |
| • | The Sacraments of Genre: Coppola, DePalma, Scorsese |
| Hardcore: Cultural Resistance in the Postmodern |
| PART FOUR— DOCUMENTARY |
| • | The Voice of Documentary |
| Newsreel: Old and New—Towards an Historical Profile |
| When Less Is Less: The Long Take in Documentary |
| Mirrors without Memories: Truth, History, and the New Documentary |
| • | Works Cited |
| PART FIVE— TECHNOLOGIES |
| • | Colorization |
| • | Machines of the Invisible: Changes in Film Technology in the Age of Video |
| Videophilia: What Happens When You Wait for It on Video |
| • | Through the Looking Glasses: From the Camera Obscura to Video Assist |
| • | True Lies: Perceptual Realism, Digital Images, and Film Theory |
| PART SIX— HISTORICAL REVISIONS |
| • | Stepin Fetchit Talks Back |
| • | Footnote to the History of Riefenstahl's Olympia |
| • | Power and Dis-integration in the Films of Orson Welles |
| Reading Kane |
| Desert Fury , Mon Amour |
| Fritz Lang and Goebbels: Myth and Facts |
| PART SEVEN— GROUP TEXTS |
| Special Feature: Independent Cinema |
| FQ Round Table: The Many Faces of Thelma & Louise |
| Notes |
| NOTES ON CONTRIBUTORS |
| INDEX |