4:07
Observations on Film Art: Jeff Smith on SHOOT THE PIANO PLAYER
CRITERION
3:22
Observations on Film Art: David Bordwell on HIROSHIMA MON AMOUR
1:41
Observations on Film Art: Continuity Editing in THE DEVIL AND DANIEL WEBSTER
3:52
On the Channel: Dissolves and Memory in THE LONG DAY CLOSES
2:09
The Restless Cinematography of BREAKING THE WAVES
1:40
Observations on Film Art: Staging and Performance in IVAN THE TERRIBLE, PART II
1:22
Observations on Film Art: BLACK NARCISSUS
3:24
Genre Play in Robert Altman's THE PLAYER
1:48
Observations on Film Art No. 25: Nonlinear Narrative-LYDIA and the Power of Flashbacks
1:27
Observations on Film Art: Victor Sjöström’s Stirring Flashbacks
2:45
Observations on Film Art: David Bordwell on Acting in BRUTE FORCE
2:01
Observations on Film Art: Sound in Fritz Lang’s M
3:14
Observations on Film Art: The Stripped-Down Style of ALI: FEAR EATS THE SOUL
3:04
Observations on Film Art: MONSIEUR VERDOUX
2:50
Observations on Film Art: Offscreen Sound in LA CÉRÉMONIE
2:28
Observations on Film Art: The Restraint of L’AVVENTURA
2:04
Observations on Film Art: THE SPIRIT OF THE BEEHIVE—A Child’s Point of View
2:26
Observations on Film Art: Camera Movement in THREE COLORS: RED
1:44
Observations on Film Art: David Bordwell on SANSHIRO SUGATA
1:56
Observations on Film Art: Kiarostami’s Landscapes
2:40
A Clip from Observations on Film Art: Plotting in VAGABOND
2:00
A Clip from Observations on Film Art: The Long Take in SHOCK CORRIDOR
A Clip from Observations on Film Art: Withholding and Revealing in AN ANGEL AT MY TABLE
A Clip from Observations on Film Art: VAMPYR and the Genre Film as Experimental Film
1:55
A Clip from Observations on Film Art: Feminist Mise-en-scène in MY BRILLIANT CAREER
1:29
Observations on Film Art: Comedy, Suspense, and Three-Point Lighting in TO BE OR NOT TO BE
2:11
Observations on Film Art: Musical Motifs in THE BATTLE OF ALGIERS
