Parallels between French and American cinema, and French contribution to developing film theory and criticism. Survey Renoir's career and some key associates (Vigo, Bazin). Analyze short clips from Grand Illusion and Boudu Saved From Drowning.

Lecture 17: Jean Renoir and Poetic Realism

Shadow of a Doubt and Rear Window show how Hitchcock films can be considered a genre all their own. Main themes: divided self (good/evil, masculine/feminine), attractiveness of evil, nature of cinema entertainment, double plots (story &amp; meta-story).

Lecture 10: Shadow of a Doubt, Rear Window

In this video, David Thorburn discusses themes that organize the course, including the power of movies, the work of genre, organic form, and artistic qualities, such as the multiplicity principle.

Thematic Spines of the Course

In this video, David Thorburn shares how "The Film Experience" differs from traditional film courses taught in cinema studies sequences in that he uses frameworks from television and literature to help students explore the genre.

Beyond Film: Television & Literature

In this video, David Thorburn discusses how technological advancementes over the past three decades have transformed and continue to transform students' experience in the course.

The Film Experience: A Course in Transition

In this video, David Thorburn discusses factors he considers when thinking about how video lectures might be integrated into the teaching of the course.

The Video Lecture Conundrum

In this video, David Thorburn discusses the value of lecture courses for undergraduate student and shares teaching strategies he's borrowed from other inspiring lecturers.

Approach to Lecturing

In this video, David Thorburn discusses how the study of film and literature enriches students' lives. He also shares that his course offers students an opportunity to appreciate the kind of artistic genius that is distinct from that of entrepreneurs.

Why Study Film?

In this video, David Thorburn shares his role at MIT and the story behind what inspired him to become a film scholar.

Meet the Educator

"Rules of the Game" demonstrates Renoir's camera technique. Discuss key actors (Von Stroheim, Gabin) and key themes including prison camp as microcosm, transcending barriers, effects of social class, Europe in transition.

Lecture 18: Renoir's Grand Illusion (1937)

A general account of De Sica’s career as an actor and director, and a close reading of his most famous film Bicycle Thieves.

Lecture 20 (2007): Italian Neorealism, Part II

Introduce the French New Wave style, with comparisons to Italian neorealism and Hollywood, and use of improvisation, jump cuts, elliptical editing, and self-reflexiveness. Focus on Truffaut and his key films, especially The 400 Blows.

Lecture 21: Truffaut, the Nouvelle Vague, The 400 Blows

Continue discussion of Charlie Chaplin, comparing his films to those of Buster Keaton. Examples: Keaton's Cops, Chaplin's The Gold Rush, City Lights, and particularly Modern Times.

Lecture 4: Chaplin, Part II (2007)

The Western as a genre form, exemplifying Hollywood cinema's emergence as a central form of storytelling ("consensus narrative") for the founding myths of the United  States. Films discussed: McCabe and Mrs. Miller.

Lecture 13: The Western

A review and summary of the key themes of this course, such as consensus narrative, organic form, and the multiplicity principle.

Lecture 23: Summary Perspectives - Film as Art and Artifact

Kurosawa's Rashomon demonstrates film's emergence as an international medium and fully-recognized art form. The lecture highlights connections to modernism and Japanese theater traditions, and summarizes the film's key stylistic and structural features.

Lecture 22: Kurosawa and Rashomon

Conclude discussion of the Western as genre form. The Western's role in movie house culture and Saturday matinees. Surveys key films and themes by decade, from silent films to today; overview of John Ford's career and preview of The Searchers.

Lecture 14. The Western (continued)

Origins and historical context of Italian neorealism, with brief accounts of the major figures and artistic principles of the movement.  Discuss the quality of “multiplicity,” a key attribute of all good films. Examples: Bicycle Thieves; Rome, Open City.

Lecture 19 (2007): Italian Neorealism, Part I

Continue the discussion of transformation and subversion in 1970s films, specifically as embodied in the work of director Robert Altman. Detailed preview of McCabe and Mrs. Miller, and consider High Noon as a baseline Western reference.

Lecture 16 (2007): American Film in the 1970s, Part II

Dramatic changes in American film of the late 60s &amp; early 70s linked with the period's turbulent social history, and with TV supplanting film as the medium for consensus narrative. Discuss Jack Nicholson/Five Easy Pieces; Altman's The Long Goodbye,  MASH.

Lecture 15 (2007): American Film in the 1970s, Part I

The Film Experience (2013)

Emergence of Hollywood system of stars and genres, producing populist "aesthetics of connection" with the mass moviegoing audience. Three strains of comedy: anarchic, worldly, &amp; screwball.  View &amp; discuss two screwball clips: The Lady Eve &amp; Ball of Fire.

Lecture 7: The Studio Era

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