Cover -- Title page -- Copyright page -- Contents -- Notes on Contributors -- Acknowledgments -- Introduction -- Notes -- Works Cited -- PART I: Biography/Autobiography/Auteurism -- 1: The Stand-up Auteur -- The Place of the Auteur in American Film Culture -- The Auteur as Commentator -- Stardust Memories: The Auteur between Distrust and Desire -- Acknowledgments -- Notes -- Works Cited -- 2: Which Woody Allen? -- Woody, a Star? -- Woody vs. Woody -- Woody, Post-Scandal -- Playing Woody Allen -- Acknowledgments -- Notes -- Works Cited -- 3: Woody Allen and France -- Aspects of the Representation of French Culture in Allen's Films -- Building Up the Persona -- Allen and French Cinema -- Truffaut, Godard, and Others -- Aspects of Allen's Critical Reception in France -- Notes -- Works Cited -- French -- English -- 4: "Raging in the Dark": Late Style in Woody Allen's Films -- Notes -- Works Cited -- 5: A Difficult Redemption: Facing the Other in Woody Allen's Exilic Period -- Notes -- Works Cited -- 6: Comic Faith and Its Discontents: Death and the Late Woody -- Notes -- Works Cited -- PART II: Movies about the Movies -- 7: Critical Theory and the Cinematic World of Woody Allen -- Zelig: Reflections on the Cultural Landscape -- From Interiors to Radio Days: An Exploration into Art and Culture -- Celebrity, Negotiating Identity -- Conclusion -- Notes -- Works Cited -- 8: Crimes and Misdemeanors: Reflections on Reflexivity -- Notes -- Works Cited -- 9: Play it Again, Woody: Self-Reflexive Critique in Contemporary Woody Allen Films -- Celluloid Memories -- Have We Met Before? -- Talking in Circles -- The Way They Were -- That's the End? -- Notes -- Works Cited -- 10: Jazz Heaven: Woody Allen and the Hollywood Ending -- Moral and Aesthetic Blindness (Crimes and Misdemeanors and Hollywood Ending).

The Framed Screen (The Purple Rose of Cairo and Stardust Memories) -- Notes -- Works Cited -- PART III: Allen and His Sisters: Cultural Critiques -- 11: "Here . . . It's Not Their Cup of Tea": Woody Allen's Melodramatic Tendencies in Interiors, September, Another Woman, and Alice -- Woody's Melodramatic Tendencies -- Motherhood, Family, and Its Complications: Inscriptions and Revisions of the Family and Maternal Melodramas in Interiors and September -- Dreamscapes and Realities: Paranoid Spaces and Female Agency/Passivity -- Notes -- Works Cited -- 12: "It's Complicated, Really": Women in the Films of Woody Allen -- Manhattan: Three Types of Women -- Hannah and Her Sisters: Pregnant Women and Controlling Men -- Another Woman: "You Must Change Your Life" -- Vicky Cristina Barcelona: "Chronic Dissatisfaction" -- Whatever Works: It's a Matter of Luck -- Conclusion: "It's Complicated" -- Works Cited -- 13: Woody Allen's Grand Scheme: The Whitening of Manhattan, London, and Barcelona -- Works Cited -- 14: Love and Citation in Midnight in Paris -- Remembering Modernism, Remembering Woody -- Shoring up Fragments: Allen, Eliot, and Modernist Citation -- No Warts, Not At All: Historical Blindness and Modernist Biographies -- It's Delovely: Depthless Citation -- "Very Pretty Lyrics": Midnight in Paris's Modernist Tour Book -- Just Desserts: Upon Midnight, Recalling Woody -- Works Cited -- PART IV: Influences/Intertextualities -- 15: Taking the Tortoise for a Walk: Woody Allen as Flâneur -- Notes -- Works Cited -- 16: Lurking in Shadows: Kleinman's Trial and Defense -- Kafkaesque Wake-up Calls and Trials: The Spectre of Anti-Semitism -- Kleinman's Expressionist Nightmare -- Shadows of the Holocaust and Beyond -- Notes -- Works Cited -- 17: Woody Allen and the Literary Canon -- Crossing the Literary Divide -- Russian Influences -- Kafka and Other Absurdists.

Works Cited -- 18: "Who's He When He's at Home?": A Census of Woody Allen's Literary, Philosophical, and Artistic Allusions -- Census of Woody Allen's Allusions1 -- Works Cited -- 19: The Schlemiel in Woody Allen's Later Films -- The Schlemiel and Autonomy: From Moses Mendelssohn to Woody Allen -- Blindness and Insight -- Mitigated Skepticism -- The "Parisian Dream" -- Conclusion -- Notes -- Works Cited -- 20: Barcelona: City of Refuge -- Cities of Refuge -- Set in Barcelona -- Barcelona, New York, Barcelona -- Works Cited -- PART V: Philosophy/Religion -- 21: Woody Allen and the (False) Dichotomy of Science and Religion -- Allen's Flux Metaphysics -- Allen's Epistemological Claims -- The Meaning and Value of Life -- Responses -- The False Dichotomy -- Notes -- Works Cited -- 22: The Philosopher as Filmmaker -- Allen's Philosophical Claims -- Life is meaningless -- There is no God -- Death is inevitable, irrevocable, and horrible -- There is no cosmic justice -- Film and Philosophy -- Assessing Allen's Philosophical Claims -- Conclusion -- Acknowledgments -- Notes -- Works Cited -- 23: Disappearing Act: The Trick Philosophy of Woody Allen -- How the Factoring Philosophy Makes the World Disappear -- Woody Allen's Existentialism -- David Hume as the Consummate Trick Philosopher -- Skepticism's Instability -- Skepticism and Freethinking: Oscillating between Incompatibles -- Global Skepticism's Philosophical and Artistic Dead Ends -- How to Live if All Values Are Strictly Subjective -- Reflecting on "Life's Shortness and Uncertainty" -- Counterworking "the Artifice of Nature" -- Problems with Projection Theory - But Not to Worry -- Acknowledgments -- Notes -- Works Cited -- 24: Love, Meaning, and God in the Later Films of Woody Allen -- Vicky Cristina Barcelona (2009) -- Vicky -- Cristina and Maria Elena -- Cassandra's Dream (2007) -- Conclusion.

Notes -- Works Cited -- 25: Hollywood Rabbi: The Never-Ending Questions of Woody Allen -- Notes -- Works Cited -- 26: Allen's Random Universe in His European Cycle: Morality, Marriage, Magic -- Notes -- Works Cited -- 27: Afterword: The Abyss: Woody Allen on Love, Death, and God -- The Abyss -- Divine Comedy -- Exile -- Notes -- Works Cited -- Index.