This lecture is a detailed examination of the structure, themes, characters and social context of Italian neorealism, primarily through the example of De Sica's Bicycle Thieves.

This session introduces some characteristics of neorealist cinema, especially the 'principle of multiplicity' in which aspects of the film serve multiple functions. Examples: Bicycle Thieves and Rome, Open City.

This lecture continues the discussion of transformation and subversion in 1970s films, specifically as embodied in work of director Robert Altman. Examples: McCabe and Mrs. Miller; High Noon as a baseline Western reference.

This lecture discusses dramatic changes in film of the late 60s and early 70s: the end of the studio era, social transformation, and television as the new consensus medium. Examples: Jack Nicholson in Five Easy Pieces; Robert Altman's The Long Goodbye.

This lecture continues 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.

This lecture explores the emergence of Charlie Chaplin in the early years of Hollywood. Examples: Keystone Kops, The Tramp.

Through Buster Keaton, this lecture also introduces the paradox of a capitalist-technological alliance enabling a new narrative art, and filmmaking methods like shooting schedules and editing. Examples: Great Train Robbery, The Lonedale Operator, The General.

This lecture introduces film as a cultural form, an institution and an art. Beginning as a novelty without conventions, film developed a unique language and grew into an embedded social norm. Examples: Fred Ott's Sneeze, Great Train Robbery.