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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, 13 Jun 2013 08:15:58 +0000</lastBuildDate>
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		<item>
		<title>From Ubu Roi to My Generation: A Tribute to Albie Thoms</title>
		<link>http://sensesofcinema.com/2013/66/from-ubu-roi-to-my-generation-a-tribute-to-albie-thoms/</link>
		<comments>http://sensesofcinema.com/2013/66/from-ubu-roi-to-my-generation-a-tribute-to-albie-thoms/#comments</comments>
		<pubDate>Sun, 17 Mar 2013 05:23:56 +0000</pubDate>
		<dc:creator>Adrian Danks</dc:creator>
				<category><![CDATA[Albie Thoms Dossier]]></category>
		<category><![CDATA[Issue 66 | March 2013]]></category>
		<category><![CDATA[Albie Thoms]]></category>
		<category><![CDATA[Australian cinema]]></category>

		<guid isPermaLink="false">http://sensesofcinema.com/?p=16099</guid>
		<description><![CDATA[Albie Thoms (1941-2012) was one of the most significant figures of Australian postwar film culture. In a peripatetic career that stretched from his adventurous work with the Sydney University Drama Society in the early 1960s to the publication of his expansive and affectionately detailed memoir of that decade, My Generation, in the weeks after his ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2013/66/from-ubu-roi-to-my-generation-a-tribute-to-albie-thoms/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Special Dossier: Tasmania and the Cinema</title>
		<link>http://sensesofcinema.com/2012/65/special-dossier-tasmania-and-the-cinema/</link>
		<comments>http://sensesofcinema.com/2012/65/special-dossier-tasmania-and-the-cinema/#comments</comments>
		<pubDate>Mon, 10 Dec 2012 11:49:25 +0000</pubDate>
		<dc:creator>Adrian Danks</dc:creator>
				<category><![CDATA[Issue 65 | December 2012]]></category>
		<category><![CDATA[Tasmania and the Cinema]]></category>
		<category><![CDATA[Australia on film]]></category>
		<category><![CDATA[Australian cinema]]></category>

		<guid isPermaLink="false">http://sensesofcinema.com/?p=13111</guid>
		<description><![CDATA[Introduction: Tasmania and the Cinema Tasmania’s intermittent relationship with the cinema dates back before the first feature film made on its rugged West Coast in 1925, Louise Lovely and Wilton Welch’s now lost Jewelled Nights. In many ways what we might call “Tasmanian cinema” reflects the sometimes harsh, depopulated landscape of the island itself. Since the ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2012/65/special-dossier-tasmania-and-the-cinema/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>“Change – why should I? I never pretended to be anything than I am”: The Films of Errol Flynn and Raoul Walsh (1)</title>
		<link>http://sensesofcinema.com/2012/65/change-why-should-i-i-never-pretended-to-be-anything-than-i-am-the-films-of-errol-flynn-and-raoul-walsh-1/</link>
		<comments>http://sensesofcinema.com/2012/65/change-why-should-i-i-never-pretended-to-be-anything-than-i-am-the-films-of-errol-flynn-and-raoul-walsh-1/#comments</comments>
		<pubDate>Thu, 29 Nov 2012 14:13:17 +0000</pubDate>
		<dc:creator>Adrian Danks</dc:creator>
				<category><![CDATA[Issue 65 | December 2012]]></category>
		<category><![CDATA[Tasmania and the Cinema]]></category>
		<category><![CDATA[Errol Flynn]]></category>
		<category><![CDATA[Raoul Walsh]]></category>

		<guid isPermaLink="false">http://sensesofcinema.com/?p=12711</guid>
		<description><![CDATA[“Flynn does not deal in depth, but he has a freshness, a galvanizing energy, a cheerful gaiety (in the old sense) made to inspire boys.” (2) “[Walsh] never fights his material, playing directly into the staleness. He is like his volatile, instinctive, not-too-smart characters, who, when they are at their most genuine, are unreclaimable, terrifying ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2012/65/change-why-should-i-i-never-pretended-to-be-anything-than-i-am-the-films-of-errol-flynn-and-raoul-walsh-1/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>The Cats in the Hats Come Back; or “at least they’ll see the cats”: Pussycat Poetics and the Work of Chris Marker</title>
		<link>http://sensesofcinema.com/2012/feature-articles/the-cats-in-the-hats-come-back-or-at-least-theyll-see-the-cats-pussycat-poetics-and-the-work-of-chris-marker/</link>
		<comments>http://sensesofcinema.com/2012/feature-articles/the-cats-in-the-hats-come-back-or-at-least-theyll-see-the-cats-pussycat-poetics-and-the-work-of-chris-marker/#comments</comments>
		<pubDate>Mon, 17 Sep 2012 02:45:19 +0000</pubDate>
		<dc:creator>Adrian Danks</dc:creator>
				<category><![CDATA[Chris Marker Dossier]]></category>
		<category><![CDATA[Feature Articles]]></category>
		<category><![CDATA[Issue 64 | September 2012]]></category>
		<category><![CDATA[Chris Marker]]></category>

		<guid isPermaLink="false">http://sensesofcinema.com/?p=12367</guid>
		<description><![CDATA[For Guillaume-en-Egypte, Polly and Chris This is a slightly revised version of a paper presented at a symposium devoted to Chris Marker in the late 1990s. Each of the speakers was asked to identify and talk about a particular “Marker moment” in an experimental, expository fashion. “A cat is never on the side of power.” ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2012/feature-articles/the-cats-in-the-hats-come-back-or-at-least-theyll-see-the-cats-pussycat-poetics-and-the-work-of-chris-marker/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
	
		<series:name><![CDATA[Issue 64]]></series:name>
	</item>
		<item>
		<title>“Scorched earth and space”: The Overlanders (Harry Watt, 1946)</title>
		<link>http://sensesofcinema.com/2012/64/scorched-earth-and-space-the-overlanders-harry-watt-1946/</link>
		<comments>http://sensesofcinema.com/2012/64/scorched-earth-and-space-the-overlanders-harry-watt-1946/#comments</comments>
		<pubDate>Wed, 12 Sep 2012 07:49:59 +0000</pubDate>
		<dc:creator>Adrian Danks</dc:creator>
				<category><![CDATA[Issue 64 | September 2012]]></category>
		<category><![CDATA[Key Moments in Australian Cinema]]></category>
		<category><![CDATA[Australian cinema]]></category>
		<category><![CDATA[Harry Watt]]></category>
		<category><![CDATA[The Overlanders]]></category>

		<guid isPermaLink="false">http://sensesofcinema.com/?p=12214</guid>
		<description><![CDATA[The Overlanders is the first of five films made by Ealing Studios in Australia between the mid-1940s and the late 1950s. It provides a fascinating insight into the shifting policies, ideologies and practices of nationalistic filmmaking in this period (for both Britain and Australia). Shot between April and September 1945, it was released into the ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2012/64/scorched-earth-and-space-the-overlanders-harry-watt-1946/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Walls and Mirrors: Iranian Films at the 2012 Melbourne International Film Festival</title>
		<link>http://sensesofcinema.com/2012/63/walls-and-mirrors-iranian-films-at-the-2012-melbourne-international-film-festival/</link>
		<comments>http://sensesofcinema.com/2012/63/walls-and-mirrors-iranian-films-at-the-2012-melbourne-international-film-festival/#comments</comments>
		<pubDate>Sun, 15 Jul 2012 06:31:23 +0000</pubDate>
		<dc:creator>Adrian Danks</dc:creator>
				<category><![CDATA[2012 MIFF Dossier]]></category>
		<category><![CDATA[Issue 63 | July 2012]]></category>
		<category><![CDATA[Iranian cinema]]></category>
		<category><![CDATA[MIFF]]></category>

		<guid isPermaLink="false">http://sensesofcinema.com/?p=11666</guid>
		<description><![CDATA[The Melbourne International Film Festival (MIFF) has showcased the New Iranian Cinema since a special focus in 1993 called “Spotlight Iran”. It has routinely highlighted particular peaks and trends, and has consistently followed the work of such significant directors as Abbas Kiarsotami, Mohsen and Samira Makhmalbaf, Jafar Panahi and Majid Majidi (along with some notable ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2012/63/walls-and-mirrors-iranian-films-at-the-2012-melbourne-international-film-festival/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Coeur fidèle</title>
		<link>http://sensesofcinema.com/2012/63/coeur-fidele/</link>
		<comments>http://sensesofcinema.com/2012/63/coeur-fidele/#comments</comments>
		<pubDate>Sun, 08 Jul 2012 04:31:23 +0000</pubDate>
		<dc:creator>Adrian Danks</dc:creator>
				<category><![CDATA[2012 MIFF Dossier]]></category>
		<category><![CDATA[Issue 63 | July 2012]]></category>
		<category><![CDATA[Coeur fidèle]]></category>
		<category><![CDATA[Jean Epstein]]></category>
		<category><![CDATA[MIFF]]></category>

		<guid isPermaLink="false">http://sensesofcinema.com/?p=11584</guid>
		<description><![CDATA[I just want to say this: you have to love it and hate it at the same time – and love it as much as you hate it. This fact alone proves that the cinema is an art with a very well-defined personality of its own. The difficulty lies above all in the choice of ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2012/63/coeur-fidele/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Between Innocence and Experience: Lee Chang Dong’s Secret Sunshine</title>
		<link>http://sensesofcinema.com/2012/cteq/between-innocence-and-experience-lee-chang-dongs-secret-sunshine/</link>
		<comments>http://sensesofcinema.com/2012/cteq/between-innocence-and-experience-lee-chang-dongs-secret-sunshine/#comments</comments>
		<pubDate>Sun, 17 Jun 2012 07:58:53 +0000</pubDate>
		<dc:creator>Adrian Danks</dc:creator>
				<category><![CDATA[Cinémathèque Annotations on Film]]></category>
		<category><![CDATA[Issue 63 | July 2012]]></category>
		<category><![CDATA[Lee Chang-dong]]></category>
		<category><![CDATA[Secret Sunshine]]></category>

		<guid isPermaLink="false">http://sensesofcinema.com/?p=11411</guid>
		<description><![CDATA[Miryang (Secret Sunshine, 2007) begins with the sky. Shine-ae (Jeon Do-yeon)’s car has broken-down outside of Miryang (which literally translates, supposedly, as “secret sunshine”), the place where her recently deceased husband was born and raised. Attempting to restart her life, she has somewhat surprisingly decided to move to the town with her son. This marks ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2012/cteq/between-innocence-and-experience-lee-chang-dongs-secret-sunshine/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<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 | March 2012]]></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 | October 2011]]></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>
		<wfw:commentRss>http://sensesofcinema.com/2011/60/across-the-borderline/feed/</wfw:commentRss>
		<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 | October 2011]]></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 | June 2011]]></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 | March 2011]]></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 | December 2010]]></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 | December 2010]]></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 | October 2010]]></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 | October 2010]]></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>
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