How has American cinema engaged with the urban transformation and post-industrialism of the mid-20th century? And what role have films and film industries played in shaping and mediating cultural and economic change in the cities that have therefore emerged? This interdisciplinary work argues that post-classical cinema and the de-industrialised city have become increasingly intertwined in an era of place branding, on-location filming and the arrival of a `creative class.' It considers the complex, evolving relationship between moving image cultures and the spaces, policy and politics of emblematic sites such as New York, Los Angeles, Boston and Detroit, using a wide range of both blockbusters and independent movies as case studies to do this. Across twelve chapters, the contributors address questions about narrative, aesthetics, and genre, as well as analysing the contexts of production, exhibition and reception through key films such as Frances Ha, Fruitvale Station, Desperately Seeking Susan, Memento, Only Lovers Left Alive and The Friends of Eddie Coyle. Drawing together critical concepts from film and urban studies, the contributors explore a major period of American cinema through the political and social geographies of the post-industrial city, nuanced with considerations of class, race, gender, and sexuality.