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  • Features
    Recent
    • American Utopia: Socio-economic Critique and Utopia in American Honey and The Florida Project

      Adam Broinowski
      October 2019
      Issue 92
    • Intimate Terrains: Contemporary German Cinema, Migration, and the Films of Aysun Bademsoy

      Adam Broinowski
      October 2019
      Issue 92
    • Cinema Never Dies: Abbas Kiarostami’s 24 Frames and The Ontology of the Digital Image

      Adam Broinowski
      October 2019
      Issue 92
    • Woody Allen: Television as Crisis

      Adam Broinowski
      October 2019
      Issue 92
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    • Ageing and Memory in Agnès Varda’s Les plages d’Agnès

      Adam Broinowski
      July 2013
      Feature Articles
      Issue 67
  • Festival Reports
    Recent
    • Of liberation, and of states of undress and redress both: The 54th Karlovy Vary International Film Festival

      Adam Broinowski
      October 2019
      Issue 92
    • This Is the Way the World Ends: The 10th Odesa Film Festival

      Adam Broinowski
      October 2019
      Issue 92
    • 22nd Revelation Perth Film Festival

      Adam Broinowski
      October 2019
      Issue 92
    • Sharing My Journey: Women and the 2019 Toronto International Film Festival

      Adam Broinowski
      October 2019
      Issue 92
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    Random
    • Standing on the Edge: The 15th Revelation Perth International Film Festival

      Adam Broinowski
      August 2012
      Festival Reports
      Issue 64
  • Book Reviews
    Recent
    • This Is Not Another Reading of a Master: The Invention of Robert Bresson: the Auteur and his Market, by Colin Burnett

      Adam Broinowski
      October 2019
      Issue 92
    • From April! April! to Imitation of Life: The Films of Douglas Sirk, by Tom Ryan

      Adam Broinowski
      October 2019
      Issue 92
    • “Mesdames, mesdemoiselles, messieurs: un classique!”: Eric Rohmer’s Film Theory (1948-1953) – From ‘École Scherer’ to ‘Politique des Auteurs’ by Marco Grosoli

      Adam Broinowski
      October 2019
      Issue 92
    • Political Gestures: Cinema/Politics/Philosophy, by Nico Baumbach

      Adam Broinowski
      July 2019
      Issue 91
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    • Angela Dalle Vacche (ed), Film, Art, New Media: Museum without Walls?

      Adam Broinowski
      March 2013
      Book Reviews
      Issue 66
  • CTEQ
    Recent
    • Intimate Interiors: The Long Day Closes (Terence Davies, 1992)

      Adam Broinowski
      October 2019
      Issue 92
    • “Judge Tenderly of Me!”: Terence Davies’ Letter to Emily Dickinson in A Quiet Passion (2016)

      Adam Broinowski
      October 2019
      Issue 92
    • Autoluminescent: Rowland S. Howard (Lynn-Maree Milburn & Richard Lowenstein, 2011)

      Adam Broinowski
      October 2019
      Issue 92
    • Hear That Lonesome Whippoorwill: Terence Davies’ The Neon Bible (1995)

      Adam Broinowski
      October 2019
      Issue 92
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    • Here Comes the Sun: New Ways of Seeing in Antonioni's Zabriskie Point

      Adam Broinowski
      March 2000
      Cinémathèque Annotations on Film
      Issue 74
  • Great Directors
    Recent
    • Fei Mu

      Adam Broinowski
      October 2019
      Issue 92
    • Huston, John

      Adam Broinowski
      July 2019
      Issue 91
    • Stone, Oliver

      Adam Broinowski
      July 2019
      Issue 91
    • Klapisch, Cédric

      Adam Broinowski
      March 2019
      Issue 90
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    • Wong Kar-wai

      Adam Broinowski
      May 2002
      Great Directors
      Issue 20 Issue 20
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Author Adam Broinowski

Adam Broinowski

Adam Broinowski is a writer, translator and theatre maker with significant experience living and studying in Japan. He is currently a PhD candidate at the University of Melbourne.

thumb image

Black River

Adam Broinowski
April 2009
Cinémathèque Annotations on Film
Issue 79
This article was originally published in issue 50, April 2009, and re-published in issue 79, July 2016. Black River/Kuroi kawa (1957 Japan 114 mins) Prod Co: Shochiku Kinema Kenkyû-jo Dir: Kobayashi...

Founded in 1999, Senses of Cinema is one of the first online film journals of its kind and has set the standard for professional, high quality film-related content on the Internet.

 

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