Enhanced descriptions from Syndetics:

This volume collects three previously published books of Wenders' essays. He discusses his development as a film-maker from the moment he picked up a camera, and offers a broad analysis of his passions - rock music, avant-garde cinema, questions of German identity, and the influence of America.

Table of contents provided by Syndetics

• About the author (p. ix)
• Foreword (p. xi)
• Emotion Pictures: Reflections on the Cinema
• Introduction (p. 3)
• No 'exprmnts': filming in one shot only--thoughts on 'Exprmntl 4' (p. 5)
• PanAm makes the big flight (p. 8)
• Repertoire: showing and seeing, places and people, showdowns... (p. 9)
• Silly asses, irritations (p. 12)
• One Plus One (p. 14)
• Lydia (p. 19)
• Terror of the outlaws (p. 22)
• I'm movin' on (BMI 2:50) (p. 24)
• Three rivals: The Tall Men (p. 25)
• From dream to nightmare: the terrifying Western Once Upon a Time in the West (p. 28)
• Easy Rider: a film like its title (p. 30)
• Critical calendar (p. 37)
• Despising what you sell (p. 41)
• Red Sun: on Rudolf Thome's film Rote Sonne (p. 43)
• Tired of waiting (p. 45)
• Reunion--blanche neige: Francois Truffaut's La Sirene du Mississippi (p. 46)
• Re: Bad Day at Black Rock (p. 48)
• The 10th Kinks LP-the 51st Alfred Hitchcock film-the 4th Creedence Clearwater Revival LP-the 3rd Harvey Mandel LP (p. 51)
• Hitchcock in the cutting-room (p. 53)
• Emotion pictures: slowly rockin' on (p. 55)
• Van Morrison (p. 58)
• L'Enfant sauvage (p. 61)
• Monterey Pop (p. 68)
• A non-existent genre (p. 70)
• New hat, same old scars: Eddie Constantine (p. 75)
• The Big TNT Show (p. 83)
• On television: Furchtlosen Flieger (The Fearless Fliers) (p. 85)
• Nashville: a film that teaches you to see and hear (p. 88)
• That's entertainment: Hitler (p. 99)
• Crazy about films: the work of the projectionist Ladwig (p. 107)
• Death is no solution: the German film director Fritz Lang (p. 111)
• The men in the rodeo arena: Lusty (p. 116)
• The American Dream (p. 123)
• Acknowledgements (p. 155)
• The Logic of Images: Essays and Conversations
• Why do you make films? (p. 159)
• Time sequences, continuity of movement: Summer in the City and The Goalkeeper's Fear of the Penalty (p. 161)
• The Scarlet Letter (p. 165)
• The heroes are the others: False Movement (p. 167)
• Kings of the Road (p. 171)
• The American Friend (p. 176)
• Reverse angle: New York City, March 1982 (p. 179)
• Chambre 666 (p. 182)
• Film thieves (p. 191)
• Goodbye to the booming voice of the old cinema: The State of Things (p. 197)
• Impossible stories (p. 210)
• Tokyo-Ga (p. 219)
• Like flying blind without instruments: on the turning point in Paris, Texas (p. 225)
• The growth of a small dependency (p. 227)
• An attempted description of an indescribable film: from the first treatment for Wings of Desire (p. 232)
• For (not about) Ingmar Bergman (p. 243)
• A history of imaginary films (p. 245)
• Le Souffle de l'Ange (p. 248)
• The Act of Seeing: Essays and Conversations
• Part I
• To the End of the World: very first treatment for a film project (p. 281)
• Travelling in time (p. 285)
• The act of seeing (p. 297)
• Part II
• Perceiving movement (p. 307)
• The truth of images (p. 324)
• The dubious revolution (p. 350)
• High definition (p. 355)
• Part III
• Notebook on Clothes and Cities: English commentary (p. 363)
• The urban landscape from the point of view of images (p. 375)
• Find myself a city to live in (p. 384)
• Part IV
• He paints his socks off (p. 405)
• Winter Marchen (p. 408)
• Eye colours (p. 411)
• A step ahead of the times (p. 413)
• Part V
• For the city that dreams (p. 425)
• Not alone in a big house (p. 427)
• On the future of European cinema (p. 430)
• Talk about Germany (p. 434)
• Part VI
• On painters, montage and dustbins (p. 447)
• 'I'm at home nowhere' (p. 454)
• King of Comedy (p. 457)
• Christ, Rainer (p. 460)
• Part VII
• On making it up as you go along (p. 465)
• Writing a screenplay is the worst (p. 473)
• On walls and spaces (p. 482)