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| Front Cover |
| Halftitle Page |
| Title Page |
| Copyright Page |
| Contents |
| Notes on Contributors |
| Introduction |
| History and the Medium of Film |
| Politics and the Historical Film: Hotel Rwanda and the Form of Engagement |
| History as Palimpsest: Stanley Kubrick's Barry Lyndon (1975) |
| Flagging up History: The Past as a DVD Bonus Feature |
| The History Film as a Mode of Historical Thought |
| Filmmakers as Historians |
| Julia's Resistant History: Women's Historical Films in Hollywood and the Legacy of Citizen Kane |
| Mark Donskoi's Gorky Trilogy and the Stalinist Biopic |
| The Subjects of History: Italian Filmmakers as Historians |
| Andrzej Wajda as Historian |
| Telling Lives: The Biopic |
| Oliver Stone's Nixon: The Rise and Fall of a Political Gangster |
| Authorial Histories: The Historical Film and the Literary Biopic |
| The Biopic in Hindi Cinema |
| The Lives and Times of the Biopic |
| Cinema and the Nation |
| Gang Wars: Warner Brothers' the Roaring Twenties Stars, News, and the New Deal |
| State Terrorism on Film: Argentine Cinema During the First Years of Democracy (1983–1990) |
| Fossil Frontiers: American Petroleum History on Film |
| Sounding the Depths of History: Opera and National Identity in Italian Film |
| Wars and Revolutions |
| Generational Memory and Affect in letters from Iwo Jima |
| Post-Heroic Revolution: Depicting the 1989 Events in the Romanian Historical Film of the Twenty-First Century |
| In Country: Narrating the Iraq War in Contemporary US Cinema |
| Premodern Times |
| Heart and Clock: Time and History in the Immortal Heart and Other Films about the Middle Ages |
| The Anti-Samurai Film |
| Slavery and the Postcolonial World |
| The Politics of Cine-Memory: Signifying Slavery in the History Film |
| The African Past on Screen: Moving beyond Dualism |
| Colonial Legacies in Contemporary French Cinema: Jews and Muslims on Screen |
| "What's Love Got to Do with It?": Sympathy, Antipathy, and the Unsettling of Colonial American History in Film |