22:17

Introduction to Roland Barthes's Mythologies: Semiotics Part 2

19:44

An Introduction to Semiotics

20:27

Robin Wood's "An Introduction to the American Horror Film" / "American Nightmare"

18:09

Introduction to the French New Wave

23:29

Introduction to Italian Neorealism

23:12

Un Chien Andalou (1929) and Surrealist Cinema

19:37

Introduction to Surrealism and Surrealist Cinema

18:31

The Cabinet of Dr. Caligari: From Caligari to Hitler

13:01

German Expressionism's Influences

19:36

Introduction to German Expressionist Cinema

30:01

Stanley Cavell's The World Viewed

19:55

2 Modes of Film Analysis: Poetics vs Hermeneutics

20:12

The Four Levels of Meaning in Film Interpretation

24:55

Mulvey's "Visual Pleasure and Narrative Cinema" and Psychoanalytic Theory

17:25

Christian Metz's The Imaginary Signifier: Psychoanalysis and the Cinema

32:01

Siegfried Kracauer's Theory of Film

23:51

Siegfried Kracauer's "The Mass Ornament," Explained

24:48

Gilles Deleuze's Cinema Books Part 3: The Frame

42:12

Gilles Deleuze's Cinema Books Part 2: The Movement-Image Ch. 1

41:15

Gilles Deleuze's Movement-Image and Time-Image, Explained

17:42

How Cinematography in It Follows (2014) Challenges Slasher Horror

17:09

Introduction to Film Genre, Part 1

20:43

Andre Bazin's "The Myth of Total Cinema"

16:34

Art Cinema Narration, Part 2: Moonlight

21:02

Hito Steyerl's "In Defense of the Poor Image"

24:50

Digital Photography, Truth Claims, and C.S. Peirce's Indexicality

17:57

What is Art Cinema Narration?: In the Mood for Love (Wong, 2000)

14:12

What is Classical Hollywood Narration?

03:06

Plot Vs Story

18:46

Roland Barthes's "Death of the Author," Explained

17:19

Christian Metz's Film Semiotics Part 2: Syntagmatic vs Paradigmatic

28:27

Christian Metz's Semiotic Film Theory

06:37

Diegetic vs Nondiegetic Sound Part 3: Voiceover

10:12

Diegetic and Nondiegetic Sound, Part 2: Blurring the Boundary

21:02

Diegetic vs Nondiegetic Sound, Part 1

17:19

Laura Mulvey and the Female Gaze

05:16

Discontinuity Editing Part 3: Sergei Eisenstein and Alfred Hitchcock

14:58

Discontinuity Editing Part 2: Soviet Montage and Sergei Eisenstein

13:24

Judith Butler's Gender Performativity, Part 2: What is "Performativity?"

13:10

Foucault's History of Sexuality, Vol. 1, Explained

22:33

Continuity Editing, Part 4: Intensified Continuity, Chaos Cinema, and Mad Max: Fury Road

13:04

What is Crosscutting?: Continuity Editing, Part 3

15:54

What is a Jump Cut?: Discontinuity Editing, Part 1

19:29

Daisies: Discontinuity Editing, Feminism, and the Czech New Wave

08:21

Sergei Eisenstein's Theory of Animation: Plasmatic Disney

12:08

The Other Side of Digital Cinema: Tangerine and Digital Realism

07:54

Oddly Satisfying Videos, ASMR, and Productivity

11:28

Speed Racer (2008), Cel Animation, and Animetism

20:02

Continuity Editing Part 2: Cut, Fade, Dissolve

18:02

What is Continuity Editing?

23:15

Camera Movement and Point of View: Letter from an Unknown Woman (1948)

23:36

What Can Camera Movement Do?

23:41

What is Off-Screen Space?

19:50

Why Use a Close-Up?: Shot Scale and Angle

21:22

What is Cinematography, Part 1: Lens and Focal Length

21:56

What is Mise-en-scene, Part 3: Gesture and Performance

07:41

What is Mise-en-scene, Part 2: Lighting

23:33

What is Mise-en-scène?: Marie Antoinette (Coppola, 2006)

18:23

Form vs Content in Film, Explained