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.

Lecture 20: Italian neorealism

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.

Lecture 19: Italian Neorealism, Part I

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.

Lecture 16: Film in the 1970s, Part II

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.

Lecture 15: Film in the 1970s, Part I

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.

Lecture 4: Chaplin, Part II

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

Lecture 3: Chaplin

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.

Lecture 2: Keaton

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.

Lecture 1: Introduction

This professor’s analysis of The Bicycle Thieves is engrossing. He presents a thorough - but concise interpretation of the film that pulls you in right away. The crescendo is when he ends with an explanation as to why the film’s mistakenly translated title of The Bicycle Thief (singular) - is such a travesty. You understand why it’s so contrary to the meaning of the film, that it’s an absolute shame that it stuck. 

Bravo for this inspiring take on a classic of Italian neorealism!

This is just wonderful.  I really wish I could hear or see the lectures that seem to be missing!  Anyways, five stars.  Thanks MIT for making these lectures available to the public.

where are the rest?

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