1 | Course Overview - Part 1 | PDF unavailable |
2 | Course Overview - Part 2 | PDF unavailable |
3 | Cinema and Semiotics - Part 1 | PDF unavailable |
4 | Cinema and Semiotics - Part 2 | PDF unavailable |
5 | Cinema and Semiotics - Seven (1995) - Part 1 | PDF unavailable |
6 | Cinema and Semotics - Seven (1995) - Part 2 | PDF unavailable |
7 | Plot in Cinema - Part 1 | PDF unavailable |
8 | Plot in Cinema - Part 2 | PDF unavailable |
9 | Plot in CInema - 7 primary types of plot | PDF unavailable |
10 | Plot in Cinema - Conflict as a Plot Element | PDF unavailable |
11 | Character as a Plot Element - Part 1 | PDF unavailable |
12 | Character as a Plot Element - Part 2 | PDF unavailable |
13 | Editing in Cinema - (Montage, Jumpcut) - Part 1 | PDF unavailable |
14 | Editing in Cinema - (Montage, Jumpcut) - Part 2 | PDF unavailable |
15 | Realism in Cinema - Part 1 | PDF unavailable |
16 | Realism in Cinema - Part 2 | PDF unavailable |
17 | Colour: Theory and Practice - Part 1 | PDF unavailable |
18 | Colour: Theory and Practice - Part 2 | PDF unavailable |
19 | Intertextuality - Casablanca (1942) - Part 1 | PDF unavailable |
20 | Intertextuality - Casablanca (1942) - Part 2 | PDF unavailable |
21 | Intertextuality - Blade Runner (1982) - Part 1 | PDF unavailable |
22 | Intertextuality - Blade Runner (1982) - Part 2 | PDF unavailable |
23 | Intertextuality - The Matrix (1999) - Part 1 | PDF unavailable |
24 | Intertextuality - The Matrix (1999) - Part 2 | PDF unavailable |
25 | Cinema and Modernism - Part 1 | PDF unavailable |
26 | Cinema and Modernism - Part 2 | PDF unavailable |
27 | Cinema and Modernism - Part 3 | PDF unavailable |
28 | Guest Lecture by Sudhish Kamath (Film Critic and Film Maker) | PDF unavailable |
29 | The French Masters - Jean Renoir - Part 1 | PDF unavailable |
30 | The French Masters - Jean Renoir - Part 2 | PDF unavailable |
31 | The French Masters - Robert Bresson - Part 1 | PDF unavailable |
32 | The French Masters - Robert Bresson - Part 2 | PDF unavailable |
33 | The French Masters - Robert Bresson - Part 3 | PDF unavailable |
34 | What is a Canon? | PDF unavailable |
35 | Canonical Text - Citizen Kane (1941) - Part 1 | PDF unavailable |
36 | Canonical Text - Citizen Kane (1941) - Part 2 | PDF unavailable |
37 | Canonical Text - The Godfather (1972/1974) Part 1 | PDF unavailable |
38 | Canonical Text - The Godfather (1972/1974) Part 2 | PDF unavailable |
39 | Canonical Text - The Godfather (1972/1974) Part 3 | PDF unavailable |
40 | Canonical Text - The Godfather (1972/1974) Part 4 | PDF unavailable |
41 | The Academy Awards Case Study - My Left Foot (1989) and Daniel Day-Lewis Method Acting - Part 1 | PDF unavailable |
42 | The Academy Awards Case Study - My Left Foot (1989) and Daniel Day-Lewis Method Acting - Part 2 | PDF unavailable |
43 | Classic Hollywood - Hay’s Code, Studio Years, Major Filmmakers - Part 1 | PDF unavailable |
44 | Classic Hollywood - Hay’s Code, Studio Years, Major Filmmakers - Part 2 | PDF unavailable |
45 | Classic Hollywood - Major Filmmakers, Melodrama - Part 1 | PDF unavailable |
46 | Classic Hollywood - Major Filmmakers, Melodrama - Part 2 | PDF unavailable |
47 | Classic Hollywood - Major Filmmakers, Melodrama - Part 3 | PDF unavailable |
48 | Classic Hollywood - Major Filmmakers, Melodrama - Part 4 | PDF unavailable |
49 | German Expressionism, Film Noir Case Study: Laura (1944) and Neo Noir Case Study: Taxi Driver (1976) - Part 1 | PDF unavailable |
50 | German Expressionism, Film Noir Case Study: Laura (1944) and Neo Noir Case Study: Taxi Driver (1976) - Part 2 | PDF unavailable |
51 | Stars as Icons, Case Study of the Stardom of James Dean and Fandoms - Part 1 | PDF unavailable |
52 | Stars as Icons, Case Study of the Stardom of James Dean and Fandoms - Part 2 | PDF unavailable |
53 | Cinema and the Counterculture Movement - Beat Generation, Woodstock Nation, Easy Rider (1968) - Part 1 | PDF unavailable |
54 | Cinema and the Counterculture Movement - Beat Generation, Woodstock Nation, Easy Rider (1968) - Part 2 | PDF unavailable |
55 | Italian Cinema - Part 1 | PDF unavailable |
56 | Italian Cinema - Part 2 | PDF unavailable |
57 | Japanese Cinema - Part 1 | PDF unavailable |
58 | Japanese Cinema - Part 2 | PDF unavailable |
59 | Auteur Theory in the USA - Part 1 | PDF unavailable |
60 | Auteur Theory in the USA - Part 2 | PDF unavailable |
61 | Auteur Theory in the USA - Part 3 | PDF unavailable |
62 | Auteur Theory in the USA - Part 4 | PDF unavailable |
63 | New Hollywood - Part 1 | PDF unavailable |
64 | New Hollywood - Part 2 | PDF unavailable |
65 | New Hollywood - Part 3 | PDF unavailable |
66 | New Hollywood - Part 4 | PDF unavailable |
67 | New Hollywood - Part 5 | PDF unavailable |
68 | New Hollywood - Part 6 | PDF unavailable |
69 | New Hollywood - Part 7 | PDF unavailable |
70 | New Hollywood - Part 8 | PDF unavailable |
71 | Cinema and Genres - Part 1 | PDF unavailable |
72 | Cinema and Genres - Part 2 | PDF unavailable |
73 | Cinema and Genres - Part 3 | PDF unavailable |
74 | Cinema and Genres - Part 4 | PDF unavailable |
75 | Postmodernism and Cinema - Part 1 | PDF unavailable |
76 | Postmodernism and Cinema - Part 2 | PDF unavailable |
77 | Postmodernism and Cinema - Part 3 | PDF unavailable |
78 | Postmodernism and Cinema - Part 4 | PDF unavailable |
79 | The Western - Part 1 | PDF unavailable |
80 | The Western - Part 2 | PDF unavailable |