Table of Contents: “…-- Easy rider -- Variations on a theme: five easy riders -- Five easy pieces -- Two-lane blacktop -- Vanishing point -- Little Fauss and Big Halsy -- Adam at 6 a.m -- Politicizing genre. …”
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Table of Contents: “…Introduction: Dirt for dirt's own sake -- The Hired Hand : circling back to the end again -- The Last Movie : Dennis Hopper's three-ring circus -- The Last Picture Show, Five Easy Pieces and Payday : cowboy rhythm on KTRN -- The Shooting, Ride in the Whirlwind and Two-Lane Blacktop : who's Monte Hellman, you ask? -- Cisco Pike : Kris Kristofferson has got a great future behind him -- Dirty Little Billy : scuffling on Madison Ave -- McCabe and Mrs Miller : pipe dreams--lows and highs -- Pat Garrett and Billy the Kid : angels descend and graves open -- Conclusion: bring me the head.…”

Table of Contents: “….) -- Cult visions -- Jack Hill (The big doll house, Coffy, Foxy Brown, Switchblade sisters) -- Monte Hellman (The shooting, Two-lane blacktop) -- Robert Downey, Sr. (Putney swope, Greaser's palace) -- New voices -- Takashi Shimizu (The grudge, The grudge 2) -- Jamie Babbit (But I'm a cheerleader) -- Bennett Miller (Capote) -- Kasi Lemmons (Eve's Bayou).…”
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Table of Contents: “…Editing choreography in an autobiographical musical : All that jazz -- The ultimate period film : Barry Lyndon -- The origin of the creative jump cut : Breathless -- Surrealism David Lynch style : Eraserhead -- Non-fiction, diary, essay filmmaking, and editing as a magician's tool : F for fake -- Remakes : The flight of the Phoenix (1964), Flight of the Phoenix -- The documentary as an investigative tool : Gimme shelter -- Time and space : Hiroshima mon amour -- Fantasy as reality : King Kong -- Destruction of the well-made Hollywood movie : The last movie -- The adult film as art film : The lickerish quartet -- Birth of the independent cinema : Little fugitive -- Parallel storytelling, character connections : Magnolia -- Mental state as narrative : Memento -- Teamwork on and off the screen : Our daily bread -- Tempo, content, and directorial style : Pickpocket -- Non-linear structure : Pulp fiction -- The camera as instigator : Seconds -- The graphic novel comes cinematically alive : Sin city -- The perfect silent film : Sunrise -- Tatami camera style : Tokyo story -- The tall tale : The treasure of the Sierra Madre -- The essential road movie : Two-lane blacktop -- The 42 minute and 56 second shot : Wavelength -- Stranger in a strange land : exploring the possibilities of the detective film : Witness.…”