Half Title Page.
Hollywood and the Culture Elite.
Introduction: How Film Became Art.
1: Vachel Lindsay and the Universal Film Museum.
2: Nationalism and Film Collecting from Edison to Lindsay.
3: Technologies of the Citizen I: A Short History of the Public Library.
4: Technologies of the Citizen II: A Short History of the Public Museum.
5: Vachel Lindsay, 1915: The Film Library as the New Hollywood.
6: Vachel Lindsay, 1922: The Film Museum as a New Public Sphere.
7: Overlapping Publics: Hollywood and Columbia University, 1915.
8: Screenwriting and the Commerce of Education.
9: Trial by Fire: Film Collecting as Upward Mobility.
10: Great Films and the Making of Americans.
12: Mandarins and Marxists: Harvard and the Rise of Film Experts.
13: Hollywood's Collection; or, Might the Academy Awards Have Been Held at Harvard?.
14: A Cult of Authenticity: Elitism and Expertise.
15: Communism and the Fogg's Progeny in the Thirties.
16: Everyone's a Critic: Harry Alan Potamkin's Marxist Film Library.
17: Iris Barry, Hollywood Imperialism, and the Gender of the Nation.
18: Americanization and Englishness.
19: The Minority, the Mass, and the Film Society.
20: "It Exists to Please Women".
21: Conclusion: Iris Barry in America.
22: The Museum of Modern Art and the Roots of the Cultural Cold War.
23: "The Movies Come from America".
24: No Laughing Matter: The Sociology of Film.
25: Redbaiting and the Short Museum Careers of Jay Leyda and Luis Buñuel.
26: The Practice of Propaganda: MoMA and the CIAA.
27: The Theory of Propaganda: The Rockefeller Connection.
28: Siegfried Kracauer and the Library of Congress Film Project.
29: Conclusion: Into the Cold War.
30: The Politics of Patronage: How the NEA (Accidentally) Created American Avant-Garde Film.
31: How the U.S. Government Learned to Ignore Avant-Garde Film.
32: The Birth of the American Avant-Garde Filmmaker.
33: Mirroring the State: An Alternative History of the New American Cinema.
34: Jerome Hill's Circle.
35: An Avant-Garde Film Museum.
36: Conclusion: "The Age of the Foundation Film".
Conclusion: The Transformation of the Studio System.