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	<title>Senses of Cinema &#187; Adrian Danks</title>
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	<link>http://sensesofcinema.com</link>
	<description>Issue 62</description>
	<lastBuildDate>Thu, 26 Apr 2012 03:22:25 +0000</lastBuildDate>
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		<title>“People are waiting”: Elia Kazan and America America</title>
		<link>http://sensesofcinema.com/2012/cteq/%e2%80%9cpeople-are-waiting%e2%80%9d-elia-kazan-and-america-america/</link>
		<comments>http://sensesofcinema.com/2012/cteq/%e2%80%9cpeople-are-waiting%e2%80%9d-elia-kazan-and-america-america/#comments</comments>
		<pubDate>Sun, 18 Mar 2012 06:00:37 +0000</pubDate>
		<dc:creator>Adrian Danks</dc:creator>
				<category><![CDATA[Cinémathèque Annotations on Film]]></category>
		<category><![CDATA[Issue 62]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=10721</guid>
		<description><![CDATA[Martin Scorsese concludes his A Personal Journey… Through American Movies (co-directed and co-written by Michael Henry Wilson, 1995) with a brief passage from Elia Kazan’s America America (1963). This epic, physical, elemental, almost monomaniacal film is an important touchstone for Scorsese, a talisman of the passage from and between the old world of Classical Hollywood ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2012/cteq/%e2%80%9cpeople-are-waiting%e2%80%9d-elia-kazan-and-america-america/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Across the Borderline</title>
		<link>http://sensesofcinema.com/2011/60/across-the-borderline/</link>
		<comments>http://sensesofcinema.com/2011/60/across-the-borderline/#comments</comments>
		<pubDate>Fri, 07 Oct 2011 11:01:48 +0000</pubDate>
		<dc:creator>Adrian Danks</dc:creator>
				<category><![CDATA[Fred Schepisi Dossier]]></category>
		<category><![CDATA[Issue 60]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=9392</guid>
		<description><![CDATA[Barbarosa (1982) was the first feature to be made in America by any of the key figures of the Australian film “renaissance” of the 1970s. It sits alongside the initial American films of Gillian Armstrong, Bruce Beresford and even Peter Weir – Mrs. Soffel (1984), Tender Mercies (1983), and Witness (1985), respectively – as an ]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>“The Raw and the Cooked”: The Peculiar Poetics of Nicolas Philibert’s Un animal, des animaux</title>
		<link>http://sensesofcinema.com/2011/cteq/%e2%80%9cthe-raw-and-the-cooked%e2%80%9d-the-peculiar-poetics-of-nicolas-philibert%e2%80%99s-un-animal-des-animaux/</link>
		<comments>http://sensesofcinema.com/2011/cteq/%e2%80%9cthe-raw-and-the-cooked%e2%80%9d-the-peculiar-poetics-of-nicolas-philibert%e2%80%99s-un-animal-des-animaux/#comments</comments>
		<pubDate>Wed, 05 Oct 2011 10:25:12 +0000</pubDate>
		<dc:creator>Adrian Danks</dc:creator>
				<category><![CDATA[Cinémathèque Annotations on Film]]></category>
		<category><![CDATA[Issue 60]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=9365</guid>
		<description><![CDATA[Filmed between 1991 and 1994, Nicolas Philibert’s Un animal, des animaux is a gently extraordinary documentary that follows the refurbishment and eventual reopening of the Zoology Gallery of Paris’ Le Muséum National d’Histore Naturelle in 1994 – an important colonial and scientific institution of late 19th century France. As in much of the rest of ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2011/cteq/%e2%80%9cthe-raw-and-the-cooked%e2%80%9d-the-peculiar-poetics-of-nicolas-philibert%e2%80%99s-un-animal-des-animaux/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Don’t Rain on Ava Gardner Parade</title>
		<link>http://sensesofcinema.com/2011/59/don%e2%80%99t-rain-on-ava-gardner-parade/</link>
		<comments>http://sensesofcinema.com/2011/59/don%e2%80%99t-rain-on-ava-gardner-parade/#comments</comments>
		<pubDate>Thu, 23 Jun 2011 15:19:20 +0000</pubDate>
		<dc:creator>Adrian Danks</dc:creator>
				<category><![CDATA[Issue 59]]></category>
		<category><![CDATA[Melbourne on Film Dossier]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=8880</guid>
		<description><![CDATA[“I’m here to make a film about the end of the world&#8230; and this seems to be exactly the right place for it.” – Ava Gardner (allegedly) (1) Marguerite Duras’ 1979 short Aurélia Steiner: Melbourne, provides an illuminating avenue through which to start to examine the representation of Melbourne in cinema. Throughout Duras’ film we ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2011/59/don%e2%80%99t-rain-on-ava-gardner-parade/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Rooms with a View: Watching John Smith’s Hotel Dairies</title>
		<link>http://sensesofcinema.com/2011/cteq/rooms-with-a-view-watching-john-smith%e2%80%99s-hotel-dairies/</link>
		<comments>http://sensesofcinema.com/2011/cteq/rooms-with-a-view-watching-john-smith%e2%80%99s-hotel-dairies/#comments</comments>
		<pubDate>Sun, 13 Mar 2011 23:31:07 +0000</pubDate>
		<dc:creator>Adrian Danks</dc:creator>
				<category><![CDATA[Cinémathèque Annotations on Film]]></category>
		<category><![CDATA[Issue 58]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=4994</guid>
		<description><![CDATA[Watching John Smith’s playfully inquisitive, profoundly interiorised and often “hushed” Hotel Diaries is a curious and sometimes unsettling experience. Comprised of eight episodes (though the Rotterdam entries * “Pyramids”/“Skunk” * are always screened as a double episode) shot over a six-year period in a range of European and Middle-Eastern cities (Cork, Berlin, Winterthur, Bristol, Rotterdam, ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2011/cteq/rooms-with-a-view-watching-john-smith%e2%80%99s-hotel-dairies/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Back to the Old House: Krzysztof Zanussi’s Family Life</title>
		<link>http://sensesofcinema.com/2010/cteq/back-to-the-old-house-krzysztof-zanussi%e2%80%99s-family-life/</link>
		<comments>http://sensesofcinema.com/2010/cteq/back-to-the-old-house-krzysztof-zanussi%e2%80%99s-family-life/#comments</comments>
		<pubDate>Mon, 20 Dec 2010 09:40:09 +0000</pubDate>
		<dc:creator>Adrian Danks</dc:creator>
				<category><![CDATA[Cinémathèque Annotations on Film]]></category>
		<category><![CDATA[Issue 57]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=4484</guid>
		<description><![CDATA[“The image of a Socialist paradise is a false one, false because it is static. What is beautiful in life is movement, development, change, part of a pattern of transition in which I take part.” (1) Krzysztof Zanussi is a filmmaker whose critical reputation has significantly declined over the last 25 years. This decline has ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2010/cteq/back-to-the-old-house-krzysztof-zanussi%e2%80%99s-family-life/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Humphrey Jennings by Keith Beattie</title>
		<link>http://sensesofcinema.com/2010/book-reviews/humphrey-jennings-by-keith-beattie/</link>
		<comments>http://sensesofcinema.com/2010/book-reviews/humphrey-jennings-by-keith-beattie/#comments</comments>
		<pubDate>Mon, 20 Dec 2010 09:31:45 +0000</pubDate>
		<dc:creator>Adrian Danks</dc:creator>
				<category><![CDATA[Book Reviews]]></category>
		<category><![CDATA[Issue 57]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=4585</guid>
		<description><![CDATA[Keith Beattie’s monograph on the seminal British documentary filmmaker Humphrey Jennings is a significant contribution to the scholarship on this fascinating, mercurial and multi-faceted artist, as well as on British documentary cinema itself. Like Michael Powell and Emeric Pressburger, Jennings is both central to the canon of British cinema and a figure who is difficult ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2010/book-reviews/humphrey-jennings-by-keith-beattie/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>The End of Innocence: Ernst Lubitsch’s The Student Prince in Old Heidelberg</title>
		<link>http://sensesofcinema.com/2010/cteq/the-end-of-innocence-ernst-lubitsch%e2%80%99s-the-student-prince-in-old-heidelberg/</link>
		<comments>http://sensesofcinema.com/2010/cteq/the-end-of-innocence-ernst-lubitsch%e2%80%99s-the-student-prince-in-old-heidelberg/#comments</comments>
		<pubDate>Mon, 11 Oct 2010 12:06:52 +0000</pubDate>
		<dc:creator>Adrian Danks</dc:creator>
				<category><![CDATA[Cinémathèque Annotations on Film]]></category>
		<category><![CDATA[Issue 56]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=3312</guid>
		<description><![CDATA[The Student Prince in Old Heidelberg is one of Lubitsch’s most surprising, nostalgic and emotionally engaging films. It represents a “return to Germany” after four years in Hollywood, and can been as something of a watershed between his initial works for Warner Bros., then a significantly less important studio than it would soon become, and ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2010/cteq/the-end-of-innocence-ernst-lubitsch%e2%80%99s-the-student-prince-in-old-heidelberg/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Introduction</title>
		<link>http://sensesofcinema.com/2010/56/arthur-and-corinne-cantrill-dossier-introduction/</link>
		<comments>http://sensesofcinema.com/2010/56/arthur-and-corinne-cantrill-dossier-introduction/#comments</comments>
		<pubDate>Mon, 11 Oct 2010 10:58:11 +0000</pubDate>
		<dc:creator>Adrian Danks</dc:creator>
				<category><![CDATA[Arthur and Corinne Cantrill Dossier]]></category>
		<category><![CDATA[Issue 56]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=3403</guid>
		<description><![CDATA[Arthur (1938-) and Corinne Cantrill (1928-) started their extraordinary filmmaking careers in 1960, and remain two of the most significant and productive figures in the history of experimental cinema. Their work is an intimate, highly formal, and breathtakingly cinematic exploration of the Australian landscape, their immediate domestic and working environments, the material qualities of the ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2010/56/arthur-and-corinne-cantrill-dossier-introduction/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>“The film we had imagined”, or: Anna and Jean-Luc Go To the Movies</title>
		<link>http://sensesofcinema.com/2010/feature-articles/the-film-we-had-imagined/</link>
		<comments>http://sensesofcinema.com/2010/feature-articles/the-film-we-had-imagined/#comments</comments>
		<pubDate>Sun, 11 Jul 2010 14:10:40 +0000</pubDate>
		<dc:creator>Adrian Danks</dc:creator>
				<category><![CDATA[Feature Articles]]></category>
		<category><![CDATA[Issue 55]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=3280</guid>
		<description><![CDATA[What is the particular dynamic at play in films featuring movie-going? Adrian Danks explores the film-within-a-film mode in range of movies, everything from Sullivan’s Travels to Vivre sa vie and more]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2010/feature-articles/the-film-we-had-imagined/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Who’s That Knocking at My Door</title>
		<link>http://sensesofcinema.com/2010/cteq/whos-that-knocking-at-my-door/</link>
		<comments>http://sensesofcinema.com/2010/cteq/whos-that-knocking-at-my-door/#comments</comments>
		<pubDate>Mon, 05 Apr 2010 23:44:14 +0000</pubDate>
		<dc:creator>Adrian Danks</dc:creator>
				<category><![CDATA[Cinémathèque Annotations on Film]]></category>
		<category><![CDATA[Issue 54]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=2126</guid>
		<description><![CDATA[“Like Samuel Fuller, Scorsese fills his movies with personal talismans; like Werner Herzog, he riddles them with documentary subtexts.” (1) Martin Scorsese’s first feature, Who’s That Knocking at My Door, is a curious beast. Sometimes dismissed as little more than an extended film school exercise, it is in fact a significant and quite revelatory document ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2010/cteq/whos-that-knocking-at-my-door/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>A Fuller View: The Films of Samuel Fuller: If You Die, I’ll Kill You! by Lisa Dombrowski</title>
		<link>http://sensesofcinema.com/2010/book-reviews/a-fuller-viewthe-films-of-samuel-fuller-if-you-die-i%e2%80%99ll-kill-you-by-lisa-dombrowski/</link>
		<comments>http://sensesofcinema.com/2010/book-reviews/a-fuller-viewthe-films-of-samuel-fuller-if-you-die-i%e2%80%99ll-kill-you-by-lisa-dombrowski/#comments</comments>
		<pubDate>Sun, 04 Apr 2010 16:31:35 +0000</pubDate>
		<dc:creator>Adrian Danks</dc:creator>
				<category><![CDATA[Book Reviews]]></category>
		<category><![CDATA[Issue 54]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=2597</guid>
		<description><![CDATA[Lisa Dombrowski’s The Films of Samuel Fuller: If You Die, I’ll Kill You! is an important contribution to the growing scholarship on and broader cultural fascination with the work of the self-consciously iconoclastic filmmaker Samuel Fuller. It positions itself squarely as a novel addition to the existing critical and analytical work so far produced on ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2010/book-reviews/a-fuller-viewthe-films-of-samuel-fuller-if-you-die-i%e2%80%99ll-kill-you-by-lisa-dombrowski/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>… à Valparaiso</title>
		<link>http://sensesofcinema.com/2009/52/a-valparaiso/</link>
		<comments>http://sensesofcinema.com/2009/52/a-valparaiso/#comments</comments>
		<pubDate>Mon, 14 Sep 2009 08:15:00 +0000</pubDate>
		<dc:creator>Adrian Danks</dc:creator>
				<category><![CDATA[Cinémathèque Annotations on Film]]></category>
		<category><![CDATA[Issue 52]]></category>
		<category><![CDATA[Chris Marker]]></category>
		<category><![CDATA[documentary]]></category>
		<category><![CDATA[Joris Ivens]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=77</guid>
		<description><![CDATA[ ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2009/52/a-valparaiso/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>On the Home Front: Newsfront (Phillip Noyce, 1978)</title>
		<link>http://sensesofcinema.com/2009/52/on-the-home-front-newsfront-phillip-noyce-1978/</link>
		<comments>http://sensesofcinema.com/2009/52/on-the-home-front-newsfront-phillip-noyce-1978/#comments</comments>
		<pubDate>Sun, 13 Sep 2009 04:54:39 +0000</pubDate>
		<dc:creator>Adrian Danks</dc:creator>
				<category><![CDATA[Issue 52]]></category>
		<category><![CDATA[Key Moments in Australian Cinema]]></category>
		<category><![CDATA[Australian cinema]]></category>
		<category><![CDATA[Phillip Noyce]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=81</guid>
		<description><![CDATA[ ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2009/52/on-the-home-front-newsfront-phillip-noyce-1978/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
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		<item>
		<title>Free at Last: Robert Connolly’s Balibo</title>
		<link>http://sensesofcinema.com/2009/51/balibo/</link>
		<comments>http://sensesofcinema.com/2009/51/balibo/#comments</comments>
		<pubDate>Thu, 09 Jul 2009 10:01:40 +0000</pubDate>
		<dc:creator>Adrian Danks</dc:creator>
				<category><![CDATA[Issue 51]]></category>
		<category><![CDATA[MIFF Premiere Fund/Post-Punk Dossier]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=2504</guid>
		<description><![CDATA[Robert Connolly’s Balibo (2009) is one of the strongest and best Australian films of recent years, and a welcome, committed return to the territory and approach of such political thrillers of the 1980s as Heatwave (Phillip Noyce, 1982), Ground Zero (Michael Pattison and Bruce Myles, 1987) and The Year of Living Dangerously (Peter Weir, 1982) ]]></description>
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		<slash:comments>0</slash:comments>
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		<item>
		<title>Shooting the President: Bruce Conner’s Report</title>
		<link>http://sensesofcinema.com/2009/cteq/report/</link>
		<comments>http://sensesofcinema.com/2009/cteq/report/#comments</comments>
		<pubDate>Tue, 14 Apr 2009 05:02:20 +0000</pubDate>
		<dc:creator>Adrian Danks</dc:creator>
				<category><![CDATA[Cinémathèque Annotations on Film]]></category>
		<category><![CDATA[Issue 50]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=2233</guid>
		<description><![CDATA[Report (1967 USA 13 mins) Filmmaker: Bruce Conner Sound: Extracts from the LP record Four Days That Shook the World Completed over a three-year period, Bruce Conner’s Report is one of the key works of 1960s avant-garde cinema, a refinement and extension of the filmmaker-artist’s film work to that date. In some respects, it is ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2009/cteq/report/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Documentary Display: Re-Viewing Nonfiction Film and Video by Keith Beattie</title>
		<link>http://sensesofcinema.com/2009/book-reviews/documentary-display/</link>
		<comments>http://sensesofcinema.com/2009/book-reviews/documentary-display/#comments</comments>
		<pubDate>Tue, 14 Apr 2009 00:18:20 +0000</pubDate>
		<dc:creator>Adrian Danks</dc:creator>
				<category><![CDATA[Book Reviews]]></category>
		<category><![CDATA[Issue 50]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=2130</guid>
		<description><![CDATA[Keith Beattie’s Documentary Display: Re-Viewing Nonfiction Film and Video is an extremely valuable and refreshing contribution to the burgeoning field of documentary film studies. Beattie’s book takes as its focus elements of documentary form and practice that are somewhat undervalued and often criticised in much of the dominant writing on and theorisation of the field. ]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>“God was wrong”: Nicholas Ray’s Bigger Than Life</title>
		<link>http://sensesofcinema.com/2009/cteq/bigger-than-life/</link>
		<comments>http://sensesofcinema.com/2009/cteq/bigger-than-life/#comments</comments>
		<pubDate>Tue, 10 Mar 2009 05:21:39 +0000</pubDate>
		<dc:creator>Adrian Danks</dc:creator>
				<category><![CDATA[Cinémathèque Annotations on Film]]></category>
		<category><![CDATA[Issue 50]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=2249</guid>
		<description><![CDATA[Bigger Than Life (1956 USA 95 mins) Prod Co: Twentieth Century-Fox Prod: James Mason Dir: Nicholas Ray Scr: Cyril Hume, Richard Maibaum, based on the article “Ten Feet Tall” by Berton Roueché Phot: Joe MacDonald Ed: Louis Loeffler Art Dir: Jack Martin Smith, Lyle R. Wheeler Mus: David Raksin Cast: James Mason, Barbara Rush, Walter ]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Léon Morin, Prêtre</title>
		<link>http://sensesofcinema.com/2009/cteq/leon-morin-pretre/</link>
		<comments>http://sensesofcinema.com/2009/cteq/leon-morin-pretre/#comments</comments>
		<pubDate>Tue, 10 Mar 2009 04:55:40 +0000</pubDate>
		<dc:creator>Adrian Danks</dc:creator>
				<category><![CDATA[Cinémathèque Annotations on Film]]></category>
		<category><![CDATA[Issue 50]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=2228</guid>
		<description><![CDATA[This annotation previously appeared in Senses of Cinema, no. 10, November 2000. A selected filmography for producer Carlo Ponti is at the tail of this article. Léon Morin, Prêtre (1961 France 117 mins) Source: CAC Prod Co: Rome-Paris Films/C. C. Champion Prod: Carlo Ponti, Georges de Beauregarde Dir, Scr: Jean-Pierre Melville based on Béatrix Beck ]]></description>
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		<slash:comments>0</slash:comments>
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		<item>
		<title>Mining the Home Movie: Excavations in Histories and Memories edited by Karen L. Ishizuka and Patricia R. Zimmermann</title>
		<link>http://sensesofcinema.com/2009/book-reviews/mining-the-home-movie/</link>
		<comments>http://sensesofcinema.com/2009/book-reviews/mining-the-home-movie/#comments</comments>
		<pubDate>Mon, 02 Feb 2009 02:09:43 +0000</pubDate>
		<dc:creator>Adrian Danks</dc:creator>
				<category><![CDATA[Book Reviews]]></category>
		<category><![CDATA[Issue 49]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=2138</guid>
		<description><![CDATA[Mining the Home Movie: Excavations in Histories and Memories is a significant and often extremely rich contribution to the existing writing and research on the overlapping fields of home movie and amateur film practice &#8211; as well as the existing “archive” of each &#8211; within both contemporary cinema studies and a broader historiography. Karen L. ]]></description>
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		<slash:comments>0</slash:comments>
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