Download 100 Free Philosophy Courses and Start Living the Examined Life

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The Phi­los­o­phy sec­tion of our big Free Online Cours­es col­lec­tion just went through anoth­er update, and it now fea­tures 100 cours­es. Enough to give you a soup-to-nuts intro­duc­tion to a time­less dis­ci­pline. You can start with one of sev­er­al intro­duc­to­ry cours­es.

Then, once you’ve found your foot­ing, you can head off in some amaz­ing direc­tions. As we men­tioned many moons ago, you can access cours­es and lec­tures by mod­ern day leg­ends – Michel Fou­caultBertrand Rus­sellJohn Sear­leWal­ter Kauf­mannLeo StraussHubert Drey­fus and Michael Sandel. Then you can sit back and let them intro­duce you to the think­ing of Aris­to­tle, Socrates, Pla­to, Hobbes, Hegel, Hei­deg­ger, Kierkegaard, Kant, Niet­zsche, Sartre and the rest of the gang. The cours­es list­ed here are gen­er­al­ly avail­able via YouTube, iTunes, or the web.

Explore our col­lec­tion, 1,700 Free Online Cours­es from Top Uni­ver­si­ties, to find top­ics in many oth­er dis­ci­plines — His­to­ry, Lit­er­a­ture, Physics, Com­put­er Sci­ence and beyond. As we like to say, it’s the most valu­able sin­gle page on the web.

Don’t miss any­thing from Open Cul­ture. Sign up for our Dai­ly Email or RSS Feed. And we’ll send qual­i­ty cul­ture your way, every day.

Relat­ed Con­tent:

Michel Fou­cault: Free Lec­tures on Truth, Dis­course & The Self

Take First-Class Phi­los­o­phy Lec­tures Any­where with Free Oxford Pod­casts

Wal­ter Kaufmann’s Lec­tures on Niet­zsche, Kierkegaard and Sartre (1960)

The His­to­ry of Phi­los­o­phy, from 600 B.C.E. to 1935, Visu­al­ized in Two Mas­sive, 44-Foot High Dia­grams

Leo Strauss: 15 Polit­i­cal Phi­los­o­phy Cours­es Online

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Read 100 Entries From America’s Most Unique Dictionary, Now Available Online For The First Time

Ear­li­er this year, we wrote about the region­al dif­fer­ences in how Amer­i­cans refer to soft drinks. An explo­ration of the var­i­ous geo­graph­i­cal names for a car­bon­at­ed bev­er­age is all well and good, but it’s impor­tant to remem­ber that America’s lex­i­cal vari­a­tions are sig­nif­i­cant­ly more col­or­ful than “soda,” (East and West coasts), “coke,” (South), and “pop” (Mid­west and North­west).

For those inter­est­ed in expe­ri­enc­ing the full range of ver­bal Amer­i­cana, the Dic­tio­nary of Amer­i­can Region­al Eng­lish (DARE) has final­ly become avail­able online after 47 years of work. Unlike any oth­er dic­tio­nary, DARE attempts to doc­u­ment the region­al aspects of Amer­i­can Eng­lish, and sys­tem­atize the wide array of  geo­graph­i­cal­ly unique terms and expres­sions. As John McWhort­er notes in The New Repub­lic, this labor of lin­guis­tic love con­tains some 60,000 entries from 1,002 com­mu­ni­ties, col­lect­ed between 1965 and 1970. Of course, as McWhort­er points out, some of the terms indexed in DARE are dat­ed, hav­ing suc­cumbed to mass-media’s democ­ra­tiz­ing effects on lan­guage over the course of DARE’s lengthy prepa­ra­tion. Still, with entries like “rich rel­a­tives” (dust bun­nies) and “Cana­di­an per­jun­kety” (pim­ples), the dic­tio­nary pro­vides a fas­ci­nat­ing glimpse of the ver­bal curios, both old and new, that have sprung up around the coun­try.

Although DARE is a sub­scrip­tion-based ser­vice, its web­site pro­vides vis­i­tors with a list of 100 free and brows­able terms. We’ve includ­ed a selec­tion below:

  • “To acknowl­edge the corn – to admit to being drunk; by exten­sion, to admit to any mis­take, fault, or impro­pri­ety (for­mer­ly wide­spread, now chiefly Mid­land).”
  • Flan­nel cake – pan­cake (chiefly Appalachi­an)”
  • Flea in one’s ear – A hint, warn­ing, dis­qui­et­ing dis­clo­sure; a rebuke (chiefly North­east)”
  • Lucy Bowles – loose bow­els, diar­rhea (scat­tered, but esp. Penn­syl­va­nia, New Jer­sey, south­east­ern New York)”
  • Slick and a promise – A hasty or super­fi­cial per­for­mance of a task (chiefly New Jer­sey)”

Addi­tion­al­ly, a sam­ple of audio record­ings demon­strat­ing the breadth of accents and vocab­u­lar­ies in var­i­ous gen­er­a­tions, cities, and class­es dur­ing the ‘60s may be found on the Uni­ver­si­ty of Wis­con­sin-Madi­son DARE web­site.

For the full 100-word list, head over to DARE.

Ilia Blin­d­er­man is a Mon­tre­al-based cul­ture and sci­ence writer. Fol­low him at @iliablinderman.

David Lynch Presents the Interview Project: 121 Mini-Documentaries About Life in America

What is the Inter­view Project? David Lynch describes it as “a 20,000-mile road trip over 70 days across and back the Unit­ed States” where “peo­ple have been found and inter­viewed,” and if you watch the videos this trip pro­duced, you’re “going to meet hun­dreds of peo­ple,” all dif­fer­ent, found “by dri­ving along the roads, going into bars, going into dif­fer­ent loca­tions, and there they were. The peo­ple told their sto­ry. It’s so fas­ci­nat­ing to look and lis­ten to peo­ple.” This all comes straight from the Inter­view Pro­jec­t’s Lynch-star­ring intro­duc­to­ry video above. As for its actu­al 121 video episodes, those come direct­ed by Lynch’s son Austin and his col­lab­o­ra­tor Jason S. And what ele­ments of the U.S. pop­u­la­tion have they curat­ed? Let’s just say you would­n’t hear these voic­es in the main­stream media — and prob­a­bly not even on This Amer­i­can Life. “Today we’re meet­ing Jere­mie,” Lynch père tells us in his open­er to the Inter­view Project episode below. “The team found Jere­mie in a restau­rant in Ham­mond, Louisiana.”

From the cor­ner of a hotel bed, young Jere­mie, who looks at first like a Mor­mon mis­sion­ary on casu­al day, describes his lit­tle-known town as “about 45 min­utes from Baton Rouge and about fif­teen hours from New Orleans.” He then recounts the impres­sive num­ber of lifestyles he’s lived so far: in the mil­i­tary, on the streets, “the drug scene,” “the nature scene.” He then gets into the rea­sons behind his taste for one-night stands and orgies. In the episode below, the team meets Traci, a motel man­ag­er in Mar­fa, Texas, who tells them under the moon­light of her vic­to­ry over alco­holism, her first encounter with her life­long best friend, and her once-recur­ring dreams of a face­less man with a goa­tee. At an auc­tion in Bel­lville, Wis­con­sin, they find Robin, who dis­cuss­es his attempts to start a mas­sage-and-heal­ing coop­er­a­tive, only to have them thwart­ed by the pre­vail­ing notion that “This is the Mid­west. It’s not going to hap­pen here.” The Inter­view Project has gath­ered small-town Amer­i­ca’s per­son­al sto­ries of tragedy, tri­umph, and all those rich expe­ri­ences in-between. “It’s some­thing that’s human,” to quote David Lynch again, “and you can’t stay away from it.” And at three or four min­utes apiece, you cer­tain­ly can’t watch just one.

Relat­ed Con­tent:

David Lynch Talks About His 99 Favorite Pho­tographs at Paris Pho­to 2012

David Lynch Presents the His­to­ry of Sur­re­al­ist Film (1987)

David Lynch Teach­es You to Cook His Quinoa Recipe in a Weird, Sur­re­al­ist Video

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture and writes essays on cities, Asia, film, lit­er­a­ture, and aes­thet­ics. He’s at work on a book about Los Ange­les, A Los Ange­les Primer. Fol­low him on Twit­ter at @colinmarshall or on his brand new Face­book page.

Short Film Shows What Happens When a Letter from World War II Finally Gets Delivered 69 Years Later

A few years ago, I stum­bled upon a nev­er-sent let­ter writ­ten to a friend when we were both in col­lege. The con­tents weren’t heavy. Dis­or­ga­ni­za­tion is the most like­ly expla­na­tion for why it nev­er went in the mail. I cracked the enve­lope and had a look.

It was a time cap­sule, for sure, a cringe-induc­ing one. It was­n’t so much the life I was report­ing on as how I framed it, self-aggran­dize­ment strain­ing to pass as non­cha­lance. For­tu­nate­ly, an artist acquain­tance hap­pened to be run­ning a project— send her your shred­d­a­ble doc­u­ments, and even­tu­al­ly, she’d send you a few sheets of hand­made paper in which your mulched data min­gled with that of oth­ers. Tru­ly a beau­ti­ful way to dis­pose of the evi­dence.

But what hap­pens when nei­ther the writer, nor the intend­ed recip­i­ent, is the find­er of the lost let­ter? In Feb­ru­ary 2013, some mail post­ed by Lt. Joseph O. Matthews, a sol­dier sta­tioned at a mil­i­tary train­ing facil­i­ty in Jack­sonville, North Car­oli­na, found its way to Abbi Jacob­son, an actress (and col­or­ing book author!) rent­ing an apart­ment on Mac­Dou­gal Street in New York City. Addressed to Matthew’s wife, the can­cel­la­tion mark was dat­ed Decem­ber 2, 1944.

Jacob­son opened the let­ter, the con­di­tion of the enve­lope hav­ing sug­gest­ed that she would not be the first to breach its con­tents dur­ing the 69 years it had spent wan­der­ing in the wilder­ness. The words inside were roman­tic, a young offi­cer inform­ing the bride he’d left back home that he’d soon be ship­ping out to Oki­nawa. Eager to pull an Amélie by reunit­ing the let­ter with those to whom it would mean the most, Jacob­son enlist­ed the help of her friend, doc­u­men­tary film­mak­er Todd Bieber. Togeth­er they searched records at City Hall, look­ing for clues. When that approach proved fruit­less, they cre­at­ed the Lost Let­ter Project, a web por­tal that invit­ed the pub­lic to join in the search.

An avalanche of tweets, Face­book updates, and human inter­est pieces ensued. In no time at all, they had their man, or rather his descen­dants, Lt. Matthews hav­ing passed away in 1999, crush­ing Jacob­son’s dreams of hand deliv­er­ing the let­ter to “a lit­tle old man and a lit­tle old lady.” (I’m will­ing to bet Jacob­son will one day wish there was a giant blender capa­ble of turn­ing dig­i­tal state­ments like how cute would that be, my god, right? I love old peo­ple into hand­made paper.)

Bieber’s video reveals what became of Lt. Matthews and his wife. Even more inter­est­ing is how the let­ter res­onates with his grown chil­dren, par­tic­u­lar­ly a cer­tain the­o­log­i­cal ref­er­ence at odds with the man they thought they knew.

Relat­ed Con­tent:

In Touch­ing Video, Artist Mari­na Abramović & For­mer Lover Ulay Reunite After 22 Years Apart

“Noth­ing Good Gets Away”: John Stein­beck Offers Love Advice in a Let­ter to His Son (1958)

Stephen King Writes A Let­ter to His 16-Year-Old Self: “Stay Away from Recre­ation­al Drugs”

Ayun Hal­l­i­day is all for stuff­ing your stock­ing with a hol­i­day gift sub­scrip­tion to the East Vil­lage Inky, her award win­ning hand-illus­trat­ed zine. Fol­low her @AyunHalliday

Hear Michel Foucault Deliver His Lecture on “Truth and Subjectivity” at UC Berkeley, In English (1980)

Michel Fou­cault first arrived at the Uni­ver­si­ty of Cal­i­for­nia, Berke­ley in 1975. By this time, he was already a celebri­ty in France. He had just pub­lished his enor­mous­ly influ­en­tial his­to­ry and cri­tique of the penal sys­tem, Dis­ci­pline and Pun­ish, and he occu­pied a posi­tion at the pres­ti­gious Col­lège de France as chair in the “his­to­ry of sys­tems of thought,” a posi­tion he cre­at­ed for him­self. But when he arrived on the West Coast, writes Mar­cus Wohlsen, “few at Berke­ley had heard of Michel Fou­cault.” Leo Bersani, then chair­man of the French depart­ment, even had to call phi­los­o­phy pro­fes­sor Hubert Drey­fus to help “come and fill out the ranks” for Foucault’s lec­tures.

After the pub­li­ca­tion of vol­ume one of The His­to­ry of Sex­u­al­i­ty, Fou­cault would return to Berke­ley in the fall of 1979, then again in 1980. By then, the scene had changed dra­mat­i­cal­ly. Fou­cault was invit­ed to deliv­er the How­i­son Lec­ture that year, a dis­tin­guished invi­ta­tion pre­vi­ous­ly extend­ed to such thinkers as John Dewey, Willard V.O. Quine and, the year pre­vi­ous, John Rawls. By this time, Wohlsen writes, Fou­cault was, reluc­tant­ly, “an inter­na­tion­al aca­d­e­m­ic super­star.” Fill­ing the hall for his lec­tures would not be an issue. In fact, Wohlsen tells us,

Crowds crammed the 2,000-seat Zeller­bach Hall so quick­ly that police had to bar the doors. Fou­cault fans milled around rest­less­ly out­side until [phi­los­o­phy pro­fes­sor Hans] Slu­ga arranged for a live broad­cast of the letures to Wheel­er Hall. Its 760 seats filled almost imme­di­ate­ly.

Accord­ing to Slu­ga, Fou­cault, increas­ing­ly wary of his fame, inten­tion­al­ly titled his lecture—“Truth and Sub­jec­tiv­i­ty: the Sto­ic Prac­tice of Self Examination”—to sound “learned, abstract, remote” in order to deter a large crowd. That ploy clear­ly failed.

In the first part of the lec­ture (at top), the pre­sen­ter who intro­duces Fou­cault begins by ges­tur­ing to the philosopher’s fame, then com­ments that Foucault’s promi­nent post at the Col­lège de France was “very para­dox­i­cal, since Michel Fou­cault, although pres­ti­gious, is not a typ­i­cal kind of aca­d­e­m­ic. He is sus­pi­cious of all titles and claims to dis­in­ter­est­ed truth that has been [sic] asso­ci­at­ed with acad­e­mia.” After men­tion­ing Foucault’s fierce crit­i­cism of every his­tor­i­cal assump­tion and method­ol­o­gy (he was a guest of the His­to­ry and French Depart­ments), he breaks off his remarks to note that “there’s a mob of peo­ple all around, try­ing to get in.”

Fou­cault begins his lec­ture in French (at 8:08), then switch­es to Eng­lish for the remain­der (at 9:18). He quotes from a his­tor­i­cal French psychiatrist’s account of a “cure” involv­ing an “inter­ro­ga­tion” and a coerced con­fes­sion of mad­ness. Fou­cault calls this one among many exam­ples of “truth ther­a­pies,” and it serves—as do such vivid­ly spe­cif­ic archival exam­ples in his books—as a har­row­ing intro­duc­tion to the polic­ing of capital‑T Truth that is the essence of the human­ist enter­prise.

Despite the often pro­found­ly unset­tling nature of his inves­ti­ga­tions, and his attempt to scare off the crowd, Fou­cault is not dour or bor­ing, nor does he seem at all unap­proach­able or for­bid­ding. He is patient and self-dep­re­cat­ing­ly fun­ny: in a cut­ting, rue­ful ref­er­ence to the grow­ing dom­i­nance of ana­lyt­ic phi­los­o­phy in British and Amer­i­can uni­ver­si­ties, he says, “I con­fess, with the appro­pri­ate cha­grin, that I am not an ana­lyt­i­cal philoso­pher. Nobody is per­fect.” Then he sums up his project suc­cinct­ly: “I have tried to explore anoth­er direc­tion. I have tried to get from a phi­los­o­phy of sub­jec­tiv­i­ty to a geneal­o­gy of the sub­ject.”

Fou­cault is a very charm­ing speak­er, sprin­kling his lec­ture with lit­tle jokes like “It goes with­out say­ing… but it goes bet­ter with say­ing…” and drop­ping in Amer­i­can­isms like “Mon­day morn­ing quar­ter­back­ing,” to the amuse­ment of the crowd. He shows him­self to be very much aware of his audience—these are deeply seri­ous lec­tures, with­out a doubt, but Fou­cault nev­er for­gets that he’s fac­ing liv­ing human beings, with their own domains of knowl­edge and subjectivities—and he seeks to reach them where they are while report­ing on his dis­turb­ing dis­cov­er­ies as an archae­ol­o­gist of West­ern human­ist dis­course.

Fou­cault returned to Berke­ley again as a vis­it­ing pro­fes­sor in 1981 and again 1983, the year before his death. Alain Beaulieu, who has cat­a­logued Foucault’s Berke­ley archives, described his time in Cal­i­for­nia as hap­py and pro­duc­tive, “while he remain[ed] crit­i­cal of some fea­tures asso­ci­at­ed with the ‘Cal­i­forn­ian cult of the self.’” In fact, “Cult of the Self” was the title of three lec­tures Fou­cault deliv­ered at Berke­ley in 1983 (lis­ten here), along with six lec­tures on “Dis­course and Truth.” Dur­ing his time at Berke­ley in 1980, when he deliv­ered the lec­ture above, grad­u­ate stu­dent Michael Bess inter­viewed the philoso­pher. Fou­cault spoke plain­ly and pas­sion­ate­ly about the impe­tus for his relent­less cri­tiques of insti­tu­tion­al pow­er and knowl­edge:

In a sense, I am a moral­ist, inso­far as I believe that one of the tasks, one of the mean­ings of human existence—the source of human freedom—is nev­er to accept any­thing as defin­i­tive, untouch­able, obvi­ous, or immo­bile. No aspect of real­i­ty should be allowed to become a defin­i­tive and inhu­man law for us.

We have to rise up against all forms of power—but not just pow­er in the nar­row sense of the word, refer­ring to the pow­er of a gov­ern­ment or of one social group over anoth­er: these are only a few par­tic­u­lar instances of pow­er.

Pow­er is any­thing that tends to ren­der immo­bile and untouch­able those things that are offered to us as real, as true, as good.

Read the com­plete inter­view, first pub­lished in the Novem­ber 10, 1980 Dai­ly Cal­i­forn­ian, here.

Relat­ed Con­tent:

Michel Foucault’s Con­tro­ver­sial Life and Phi­los­o­phy Explored in a Reveal­ing 1993 Doc­u­men­tary

Clash of the Titans: Noam Chom­sky & Michel Fou­cault Debate Human Nature & Pow­er on Dutch TV, 1971

Down­load Free Cours­es from Famous Philoso­phers: From Bertrand Rus­sell to Michel Fou­cault

Michel Fou­cault: Free Lec­tures on Truth, Dis­course & The Self

90 Free Phi­los­o­phy Cours­es in our Col­lec­tion of 800 Free Cours­es Online

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

The New Yorker Launches a New Poetry Podcast: Listen to Robert Pinsky Reading Elizabeth Bishop

A quick fyi: The New York­er has just launched a new poet­ry pod­cast, and it’s intro­duced and host­ed by Paul Mul­doon, the Pulitzer Prize-win­ning poet who for­mer­ly taught poet­ry at Oxford. On The New York­er’s web site, Mul­doon writes:

I can’t be but thrilled at the prospect of the first of a series of New York­er Poet­ry Pod­casts. For decades, The New York­er has led the field of poet­ry in print jour­nal­ism. But the eye is not the only buy­er into, and ben­e­fi­cia­ry of, the poem. The ear has been in the poet­ry busi­ness for much longer, giv­en poetry’s ori­gins in the oral tra­di­tion. That’s why it’s par­tic­u­lar­ly appro­pri­ate for us to take this oppor­tu­ni­ty to fore­ground poet­ry as an aur­al expe­ri­ence.

He then explains the for­mat of the pod­cast. “Each pod­cast con­sists of a con­ver­sa­tion between myself and a guest poet. In each, the guest reads not only a poem of hers that has appeared in The New York­er but also intro­duces, and reads, a poem by anoth­er con­trib­u­tor to the mag­a­zine that she par­tic­u­lar­ly admires.”  The first episode fea­tures Philip Levine. Feel free to play it above.

You can sub­scribe to The Poet­ry pod­cast on iTunes, and it should even­tu­al­ly find a home (I’d imag­ine) on Sound­Cloud too. More poems read aloud can be found in our col­lec­tion of Free Audio Books.

Relat­ed Con­tent:

The New Yorker’s Fic­tion Pod­cast: Where Great Writ­ers Read Sto­ries by Great Writ­ers

Hear the Very First Record­ing of Allen Gins­berg Read­ing His Epic Poem “Howl” (1956)

Bill Mur­ray Reads Poet­ry at a Con­struc­tion Site

Hear Sylvia Plath Read Fif­teen Poems From Her Final Col­lec­tion, Ariel, in 1962 Record­ing

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Teacher Helps His Student Overcome Stuttering and Read Poetry, Using the Sound of Music

Musharaf Asghar, a stu­dent at Thorn­hill Acad­e­my in north­east Eng­land, over­came an acute stam­mer when his teacher, Matthew Bur­ton, bor­rowed an idea from The King’s Speech. The teacher asked his stu­dent to put on some head­phones play­ing the music of Ben Howard, and to start recit­ing a poem called ‘The Moment.’ Sud­den­ly, for the first time, the words began to flow. All of this was cap­tured in a doc­u­men­tary series, Edu­cat­ing York­shire, that aired on the BBC. The seg­ment above con­cludes with Mushy, as he’s known, giv­ing a short talk in front of his class, at what looks like a grad­u­a­tion cer­e­mo­ny. It did­n’t take long for his fel­low stu­dents to break down in tears.

Writ­ing recent­ly in The Guardian, the stu­dent recalls. “My nerves over speak­ing in assem­bly were TERRIBLE though. I did­n’t realise how big 200 peo­ple looks like. I was sweat­ing and I had a lit­tle wob­ble but even­tu­al­ly, I man­aged to get through it. I was excit­ed, if ner­vous, about the whole thing going out. But I’m real­ly hap­py and proud to be on tel­ly as I hope it gives oth­er peo­ple with a stam­mer the con­fi­dence to have a go at pub­lic speak­ing. My speech is get­ting bet­ter every week. Every­one at col­lege gives me time, but I’m get­ting quick­er any­way so they don’t miss their bus while they are lis­ten­ing to me. I still won’t be apply­ing for any call-cen­tre jobs yet though.” Find more infor­ma­tion on how music ther­a­py can help peo­ple over­come stut­ter­ing here.

Don’t miss any­thing from Open Cul­ture. Sign up for our Dai­ly Email or RSS Feed. And we’ll send qual­i­ty cul­ture your way, every day.

via @courosa

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Watch Three Films by the Immensely Prolific & Widely-Admired “B‑Movie” Filmmaker, Roger Corman

I just caught a clever dou­ble-bill: Going Attrac­tions, April Wright’s doc­u­men­tary on the his­to­ry and future of the Amer­i­can dri­ve-in movie the­ater, and Demen­tia 13, Fran­cis Ford Cop­po­la’s 1963 dri­ve-in-geared fea­ture debut (pre­vi­ous­ly fea­tured here on Open Cul­ture). Going Attrac­tions fea­tures a good deal of com­men­tary from Roger Cor­man, the inter­na­tion­al­ly respect­ed and immense­ly pro­lif­ic film­mak­er whose career has defined the very con­cept of the high-qual­i­ty “B‑movie.” In fact, so Wright revealed at the Q&A, Cor­man nev­er went to dri­ve-ins him­self, so appalling did he find their sub­stan­dard audio­vi­su­al pre­sen­ta­tions of his pic­tures, made cheap­ly but not with­out painstak­ing efforts to look and sound expen­sive. Still work­ing after over 50 films to his cred­it as direc­tor and near­ly 400 as pro­duc­er, the Detroit-born, Oxford-edu­cat­ed, Los Ange­les-based Cor­man, as well as mak­ing such revival-house clas­sics as Soror­i­ty Girl, The Wild Angels, and sev­er­al not­ed adap­ta­tions of Edgar Allan Poe, launched the careers of not just Cop­po­la but oth­er auteurs like Mar­tin Scors­ese (Box­car Bertha, 1972), Monte Hell­man (Beast from Haunt­ed Cave, 1959), and Peter Bog­danovich (Voy­age to the Plan­et of Pre­his­toric Women, 1968).

Cor­man also worked with actors now as famous as they come, as in 1960’s Lit­tle Shop of Hor­rors at the top, which fea­tures a young Jack Nichol­son. 1962’s The Intrud­er, just above, stars William Shat­ner in a sto­ry that con­fronts racism with a frank­ness unchar­ac­ter­is­tic of that era. 1963’s The Ter­ror, below, brings back Nichol­son, team­ing him with San­dra Knight and Boris Karloff. Accord­ing to a 1967 pro­file by Roger Ebert, Cor­man “shot all of Karlof­f’s scenes in two days to save on the pay­roll. Then when he got into the cut­ting room with his film, he real­ized to his hor­ror that his hor­ror film made no sense. Karloff was gone. What to do? Cor­man called in two of the bit play­ers, shot them in close-up (the sets had already been torn down or had fall­en down), and had one ask the oth­er: ‘Now tell me what all this means.’ And then the oth­er one did. Along the way, work­ing quick­ly and impro­vis­ing a lot of his scenes, Cor­man devel­oped a dis­tinc­tive, per­son­al style with­out think­ing much about it.” Yet such seem­ing­ly laugh­able tech­niques have served the man well: he titled his auto­bi­og­ra­phy How I Made a Hun­dred Movies in Hol­ly­wood and Nev­er Lost a Dime. What film­mak­er at any lev­el of crit­i­cal regard can say the same? You can find Cor­man’s films in our col­lec­tion, 4,000+ Free Movies Online: Great Clas­sics, Indies, Noir, West­erns, Doc­u­men­taries & More.

Relat­ed Con­tent:

Demen­tia 13: The Film That Took Fran­cis Ford Cop­po­la From Schlock­ster to Auteur

Tro­ma Enter­tain­ment, the Mak­er of Acclaimed B‑Movies, Puts 150 Free Films on YouTube

Ed Wood’s Plan 9 From Out­er Space: “The Worst Movie Ever Made,” “The Ulti­mate Cult Flick,” or Both?

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture and writes essays on cities, Asia, film, lit­er­a­ture, and aes­thet­ics. He’s at work on a book about Los Ange­les, A Los Ange­les Primer. Fol­low him on Twit­ter at @colinmarshall or on his brand new Face­book page.

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Open Culture was founded by Dan Colman.