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	<title>INDEPENDENT STUDY IN WORLD CINEMA | Unaffiliated Critic</title>
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	<title>INDEPENDENT STUDY IN WORLD CINEMA | Unaffiliated Critic</title>
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	<itunes:summary>Some are born film critics, some become critics, and some have film criticism thrust upon them. Each week, Michael (The Unaffiliated Critic) convinces his reluctant wife Nakea (The Unenthusiastic Critic) to sit down and watch a classic film that nearly everyone else on the planet has already seen.</itunes:summary>
	<itunes:author>The Unenthusiastic Critic</itunes:author>
	<itunes:explicit>true</itunes:explicit>
	<itunes:image href="https://unaffiliatedcritic.com/wp-content/uploads/2018/01/The-Unenthusiastic-Critic-Podcast-Logo.png" />
	<itunes:type>episodic</itunes:type>
	<itunes:owner>
		<itunes:name>The Unenthusiastic Critic</itunes:name>
		<itunes:email>michael@unaffiliatedcritic.com</itunes:email>
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	<podcast:medium>podcast</podcast:medium>
	<itunes:subtitle>Destroying our marriage, one movie at a time...</itunes:subtitle>
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		<title>INDEPENDENT STUDY IN WORLD CINEMA | Unaffiliated Critic</title>
		<url>https://unaffiliatedcritic.com/wp-content/uploads/2018/01/The-Unenthusiastic-Critic-Podcast-Logo.png</url>
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	<itunes:category text="TV &amp; Film" />
	<itunes:category text="TV &amp; Film">
		<itunes:category text="Film Reviews" />
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	<rawvoice:location>Chicago, Illinois</rawvoice:location>
	<podcast:location>Chicago, Illinois</podcast:location>
	<rawvoice:frequency>Weekly</rawvoice:frequency>
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	<rawvoice:subscribe feed="https://unaffiliatedcritic.com/category/independent-study-world-cinema/feed/" html="https://unaffiliatedcritic.com/unenthusiastic/" itunes="https://itunes.apple.com/us/podcast/the-unenthusiastic-critic/id1331615980" spotify="https://open.spotify.com/show/2DaJQwWEKxb84RDVGhhJ3L"></rawvoice:subscribe>
<site xmlns="com-wordpress:feed-additions:1">22706606</site>	<item>
		<title>THE RULES OF THE GAME (1939)</title>
		<link>https://unaffiliatedcritic.com/2021/01/the-rules-of-the-game-1939/</link>
					<comments>https://unaffiliatedcritic.com/2021/01/the-rules-of-the-game-1939/#comments</comments>
		
		<dc:creator><![CDATA[Michael G. McDunnah]]></dc:creator>
		<pubDate>Mon, 04 Jan 2021 18:29:59 +0000</pubDate>
				<category><![CDATA[INDEPENDENT STUDY IN WORLD CINEMA]]></category>
		<guid isPermaLink="false">https://unaffiliatedcritic.com/?p=38826</guid>

					<description><![CDATA[As my <i>Independent Study in World Cinema</i> continues, I dive deep into Jean Renoir's tragicomic critique of French society on the eve of the Second World War. ]]></description>
		
					<wfw:commentRss>https://unaffiliatedcritic.com/2021/01/the-rules-of-the-game-1939/feed/</wfw:commentRss>
			<slash:comments>4</slash:comments>
		
		
		<post-id xmlns="com-wordpress:feed-additions:1">38826</post-id>	</item>
		<item>
		<title>GRAND ILLUSION (1937)</title>
		<link>https://unaffiliatedcritic.com/2020/12/grand-illusion-1937/</link>
					<comments>https://unaffiliatedcritic.com/2020/12/grand-illusion-1937/#comments</comments>
		
		<dc:creator><![CDATA[Michael G. McDunnah]]></dc:creator>
		<pubDate>Tue, 15 Dec 2020 17:29:59 +0000</pubDate>
				<category><![CDATA[INDEPENDENT STUDY IN WORLD CINEMA]]></category>
		<guid isPermaLink="false">https://unaffiliatedcritic.com/?p=29310</guid>

					<description><![CDATA[My long neglected <I>Independent Study in World Cinema</I> resumes with Jean Renoir's unfailingly humane masterpiece. ]]></description>
		
					<wfw:commentRss>https://unaffiliatedcritic.com/2020/12/grand-illusion-1937/feed/</wfw:commentRss>
			<slash:comments>5</slash:comments>
		
		
		<post-id xmlns="com-wordpress:feed-additions:1">29310</post-id>	</item>
		<item>
		<title>TRIUMPH OF THE WILL (1935)</title>
		<link>https://unaffiliatedcritic.com/2017/02/triumph-of-the-will-1935/</link>
					<comments>https://unaffiliatedcritic.com/2017/02/triumph-of-the-will-1935/#comments</comments>
		
		<dc:creator><![CDATA[Michael G. McDunnah]]></dc:creator>
		<pubDate>Mon, 06 Feb 2017 17:45:32 +0000</pubDate>
				<category><![CDATA[INDEPENDENT STUDY IN WORLD CINEMA]]></category>
		<guid isPermaLink="false">https://unaffiliatedcritic.com/?p=29028</guid>

					<description><![CDATA[In the latest installment of my <i>Independent Study in World Cinema</i>, I take an unfortunately timely look at how Leni Riefenstahl helped "make Germany great again" with her propagandist "documentary" about the Nazi party. ]]></description>
		
					<wfw:commentRss>https://unaffiliatedcritic.com/2017/02/triumph-of-the-will-1935/feed/</wfw:commentRss>
			<slash:comments>1</slash:comments>
		
		
		<post-id xmlns="com-wordpress:feed-additions:1">29028</post-id>	</item>
		<item>
		<title>L&#039;ATALANTE (1934)</title>
		<link>https://unaffiliatedcritic.com/2017/01/latalante-1934/</link>
					<comments>https://unaffiliatedcritic.com/2017/01/latalante-1934/#comments</comments>
		
		<dc:creator><![CDATA[Michael G. McDunnah]]></dc:creator>
		<pubDate>Mon, 16 Jan 2017 21:15:07 +0000</pubDate>
				<category><![CDATA[INDEPENDENT STUDY IN WORLD CINEMA]]></category>
		<guid isPermaLink="false">https://unaffiliatedcritic.com/?p=27633</guid>

					<description><![CDATA[Lyrical, sensual, and wise, Jean Vigo's <i>L'Atalante</i> is a film about the stink of love, the squalor of love, the anger and boredom and perverse complexity of love. ]]></description>
		
					<wfw:commentRss>https://unaffiliatedcritic.com/2017/01/latalante-1934/feed/</wfw:commentRss>
			<slash:comments>2</slash:comments>
		
		
		<post-id xmlns="com-wordpress:feed-additions:1">27633</post-id>	</item>
		<item>
		<title>M (1931)</title>
		<link>https://unaffiliatedcritic.com/2016/04/m-1931/</link>
					<comments>https://unaffiliatedcritic.com/2016/04/m-1931/#respond</comments>
		
		<dc:creator><![CDATA[Michael G. McDunnah]]></dc:creator>
		<pubDate>Fri, 01 Apr 2016 06:04:44 +0000</pubDate>
				<category><![CDATA[INDEPENDENT STUDY IN WORLD CINEMA]]></category>
		<guid isPermaLink="false">https://unaffiliatedcritic.com/?p=13150</guid>

					<description><![CDATA[Fritz Lang teaches us all how to catch a killer, and teaches a generation of filmmakers how to use sound effectively.]]></description>
		
					<wfw:commentRss>https://unaffiliatedcritic.com/2016/04/m-1931/feed/</wfw:commentRss>
			<slash:comments>0</slash:comments>
		
		
		<post-id xmlns="com-wordpress:feed-additions:1">13150</post-id>	</item>
		<item>
		<title>WOMEN WITH MOVIE CAMERAS</title>
		<link>https://unaffiliatedcritic.com/2016/03/women-with-movie-cameras/</link>
					<comments>https://unaffiliatedcritic.com/2016/03/women-with-movie-cameras/#comments</comments>
		
		<dc:creator><![CDATA[Michael G. McDunnah]]></dc:creator>
		<pubDate>Tue, 22 Mar 2016 06:20:46 +0000</pubDate>
				<category><![CDATA[BLOG]]></category>
		<category><![CDATA[INDEPENDENT STUDY IN WORLD CINEMA]]></category>
		<guid isPermaLink="false">https://unaffiliatedcritic.com/?p=27334</guid>

					<description><![CDATA[As I plan out my <i>Independent Study in World Cinema</i>, I could use some help in making sure I don't overlook great female directors. ]]></description>
		
					<wfw:commentRss>https://unaffiliatedcritic.com/2016/03/women-with-movie-cameras/feed/</wfw:commentRss>
			<slash:comments>2</slash:comments>
		
		
		<post-id xmlns="com-wordpress:feed-additions:1">27334</post-id>	</item>
		<item>
		<title>UN CHIEN ANDALOU (1929)</title>
		<link>https://unaffiliatedcritic.com/2016/03/un-chien-andalou-1929/</link>
					<comments>https://unaffiliatedcritic.com/2016/03/un-chien-andalou-1929/#comments</comments>
		
		<dc:creator><![CDATA[Michael G. McDunnah]]></dc:creator>
		<pubDate>Sun, 20 Mar 2016 17:06:38 +0000</pubDate>
				<category><![CDATA[INDEPENDENT STUDY IN WORLD CINEMA]]></category>
		<guid isPermaLink="false">https://unaffiliatedcritic.com/?p=27138</guid>

					<description><![CDATA[My <i>Independent Study in World Cinema</i> series gets a little surreal, as we examine a short cinematic fever dream from Luis Buñuel and Salvador Dali. ]]></description>
		
					<wfw:commentRss>https://unaffiliatedcritic.com/2016/03/un-chien-andalou-1929/feed/</wfw:commentRss>
			<slash:comments>2</slash:comments>
		
		
		<post-id xmlns="com-wordpress:feed-additions:1">27138</post-id>	</item>
		<item>
		<title>MAN WITH A MOVIE CAMERA (1929)</title>
		<link>https://unaffiliatedcritic.com/2016/02/man-with-a-movie-camera-1929/</link>
					<comments>https://unaffiliatedcritic.com/2016/02/man-with-a-movie-camera-1929/#respond</comments>
		
		<dc:creator><![CDATA[Michael G. McDunnah]]></dc:creator>
		<pubDate>Mon, 29 Feb 2016 06:39:32 +0000</pubDate>
				<category><![CDATA[INDEPENDENT STUDY IN WORLD CINEMA]]></category>
		<guid isPermaLink="false">https://unaffiliatedcritic.com/?p=12882</guid>

					<description><![CDATA[Resuming my <i>Independent Study in World Cinema</i> after a long hiatus, I look at Soviet filmmaker Dziga Vertov's experimental, non-narrative documentary <i>Man with a Movie Camera</i>.]]></description>
		
					<wfw:commentRss>https://unaffiliatedcritic.com/2016/02/man-with-a-movie-camera-1929/feed/</wfw:commentRss>
			<slash:comments>0</slash:comments>
		
		
		<post-id xmlns="com-wordpress:feed-additions:1">12882</post-id>	</item>
		<item>
		<title>BACK TO (FILM) SCHOOL</title>
		<link>https://unaffiliatedcritic.com/2016/02/back-to-film-school/</link>
					<comments>https://unaffiliatedcritic.com/2016/02/back-to-film-school/#respond</comments>
		
		<dc:creator><![CDATA[Michael G. McDunnah]]></dc:creator>
		<pubDate>Mon, 15 Feb 2016 04:01:09 +0000</pubDate>
				<category><![CDATA[BLOG]]></category>
		<category><![CDATA[INDEPENDENT STUDY IN WORLD CINEMA]]></category>
		<guid isPermaLink="false">https://unaffiliatedcritic.com/?p=26734</guid>

					<description><![CDATA[A self-educated film nerd resumes his self-education, as my long-abandoned <i>Independent Study in World Cinema</i> series returns. ]]></description>
		
					<wfw:commentRss>https://unaffiliatedcritic.com/2016/02/back-to-film-school/feed/</wfw:commentRss>
			<slash:comments>0</slash:comments>
		
		
		<post-id xmlns="com-wordpress:feed-additions:1">26734</post-id>	</item>
		<item>
		<title>THE PASSION OF JOAN OF ARC (1928)</title>
		<link>https://unaffiliatedcritic.com/2013/02/the-passion-of-joan-of-arc-1928-independent-study-in-world-cinema/</link>
					<comments>https://unaffiliatedcritic.com/2013/02/the-passion-of-joan-of-arc-1928-independent-study-in-world-cinema/#respond</comments>
		
		<dc:creator><![CDATA[Michael G. McDunnah]]></dc:creator>
		<pubDate>Tue, 26 Feb 2013 00:56:32 +0000</pubDate>
				<category><![CDATA[INDEPENDENT STUDY IN WORLD CINEMA]]></category>
		<guid isPermaLink="false">https://unaffiliatedcritic.com/?p=12600</guid>

					<description><![CDATA[The subject of this week's Independent Study in World Cinema is a film that not only gave us one of film's greatest performances, but revolutionized the presentation of acting on-screen: Carl Theodor Dreyer's <em>The Passion of Joan of Arc</em> (1928). ]]></description>
		
					<wfw:commentRss>https://unaffiliatedcritic.com/2013/02/the-passion-of-joan-of-arc-1928-independent-study-in-world-cinema/feed/</wfw:commentRss>
			<slash:comments>0</slash:comments>
		
		
		<post-id xmlns="com-wordpress:feed-additions:1">12600</post-id>	</item>
		<item>
		<title>METROPOLIS (1927)</title>
		<link>https://unaffiliatedcritic.com/2013/02/metropolis-1927-independent-study-in-world-cinema/</link>
					<comments>https://unaffiliatedcritic.com/2013/02/metropolis-1927-independent-study-in-world-cinema/#comments</comments>
		
		<dc:creator><![CDATA[Michael G. McDunnah]]></dc:creator>
		<pubDate>Fri, 08 Feb 2013 23:11:52 +0000</pubDate>
				<category><![CDATA[INDEPENDENT STUDY IN WORLD CINEMA]]></category>
		<guid isPermaLink="false">https://unaffiliatedcritic.com/?p=12332</guid>

					<description><![CDATA[In this week's Independent Study in World Cinema, I take a look at one of the most visually influential films of all time: Fritz Lang's seminal 1927 science-fiction classic METROPOLIS.]]></description>
		
					<wfw:commentRss>https://unaffiliatedcritic.com/2013/02/metropolis-1927-independent-study-in-world-cinema/feed/</wfw:commentRss>
			<slash:comments>14</slash:comments>
		
		
		<post-id xmlns="com-wordpress:feed-additions:1">12332</post-id>	</item>
		<item>
		<title>BATTLESHIP POTEMKIN (1925)</title>
		<link>https://unaffiliatedcritic.com/2013/01/battleship-potemkin-1925-independent-study-in-world-cinema/</link>
					<comments>https://unaffiliatedcritic.com/2013/01/battleship-potemkin-1925-independent-study-in-world-cinema/#comments</comments>
		
		<dc:creator><![CDATA[Michael G. McDunnah]]></dc:creator>
		<pubDate>Wed, 30 Jan 2013 18:40:09 +0000</pubDate>
				<category><![CDATA[INDEPENDENT STUDY IN WORLD CINEMA]]></category>
		<guid isPermaLink="false">https://unaffiliatedcritic.com/?p=11994</guid>

					<description><![CDATA[This is the third entry in the series “Independent Study in World Cinema,” in which this self-educated film nerd attempts to fill in some fairly serious gaps in his self-education. This week, I take a look at a film about revolution that sparked a revolution in film: Sergei Eisenstein's 1925 epic Battleship Potemkin.]]></description>
		
					<wfw:commentRss>https://unaffiliatedcritic.com/2013/01/battleship-potemkin-1925-independent-study-in-world-cinema/feed/</wfw:commentRss>
			<slash:comments>7</slash:comments>
		
		
		<post-id xmlns="com-wordpress:feed-additions:1">11994</post-id>	</item>
		<item>
		<title>NOSFERATU (1922)</title>
		<link>https://unaffiliatedcritic.com/2013/01/nosferatu-1922/</link>
					<comments>https://unaffiliatedcritic.com/2013/01/nosferatu-1922/#comments</comments>
		
		<dc:creator><![CDATA[Michael G. McDunnah]]></dc:creator>
		<pubDate>Sun, 20 Jan 2013 23:11:33 +0000</pubDate>
				<category><![CDATA[INDEPENDENT STUDY IN WORLD CINEMA]]></category>
		<guid isPermaLink="false">https://unaffiliatedcritic.com/?p=11670</guid>

					<description><![CDATA[Continuing the “Independent Study in World Cinema” series, I take a long look at the movie that—for better or worse—started cinema's love affair with vampires: F.W. Murnau's NOSFERATU: A SYMPHONY OF HORROR (1922). ]]></description>
		
					<wfw:commentRss>https://unaffiliatedcritic.com/2013/01/nosferatu-1922/feed/</wfw:commentRss>
			<slash:comments>5</slash:comments>
		
		
		<post-id xmlns="com-wordpress:feed-additions:1">11670</post-id>	</item>
		<item>
		<title>THE CABINET OF DR. CALIGARI (1920)</title>
		<link>https://unaffiliatedcritic.com/2013/01/the-cabinet-of-dr-caligari-1920-independent-study-in-world-cinema/</link>
					<comments>https://unaffiliatedcritic.com/2013/01/the-cabinet-of-dr-caligari-1920-independent-study-in-world-cinema/#comments</comments>
		
		<dc:creator><![CDATA[Michael G. McDunnah]]></dc:creator>
		<pubDate>Sat, 12 Jan 2013 23:38:51 +0000</pubDate>
				<category><![CDATA[INDEPENDENT STUDY IN WORLD CINEMA]]></category>
		<guid isPermaLink="false">https://unaffiliatedcritic.com/?p=11457</guid>

					<description><![CDATA[A new series exploring influential films from around the world begins with Robert Weine's 1920 classic THE CABINET OF DR. CALIGARI. ]]></description>
		
					<wfw:commentRss>https://unaffiliatedcritic.com/2013/01/the-cabinet-of-dr-caligari-1920-independent-study-in-world-cinema/feed/</wfw:commentRss>
			<slash:comments>4</slash:comments>
		
		
		<post-id xmlns="com-wordpress:feed-additions:1">11457</post-id>	</item>
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