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  • Features
    Recent
    • The Sense of Feminism Then and Now: Yours in Sisterhood (2018) and Embodied Listening in the Cinema Praxis of Irene Lusztig

      Agnes Malkinson
      December 2018
      Issue 89
    • Audience and Performance in Kid Auto Races at Venice

      Agnes Malkinson
      December 2018
      Issue 89
    • Over-identification in The Castle: Recovering an Australian Classic’s Subversive Edge

      Agnes Malkinson
      December 2018
      Issue 89
    • Four Years of the Nitrate Picture Show, Part 1: Beautiful Colour – Tinting and Toning

      Agnes Malkinson
      December 2018
      Issue 89
    more articles...
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    • Gazes of Evasion: Simon Curtis’ My Week with Marilyn

      Agnes Malkinson
      September 2013
      Feature Articles
      Issue 68
  • Festival Reports
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    • #Youmustsee: The 2018 Adelaide International Film Festival

      Agnes Malkinson
      December 2018
      Issue 89
    • Towards the De-masculinisation of Korean Cinema: The 23rd Busan International Film Festival

      Agnes Malkinson
      December 2018
      Issue 89
    • Between Hollywood and the Socialist/Colonial East: The 5th Hanoi International Film Festival

      Agnes Malkinson
      December 2018
      Issue 89
    • Film Culture and Corporate Enterprise at the 62nd BFI London Film Festival

      Agnes Malkinson
      December 2018
      Issue 89
    more articles...
    Random
    • Branding Representations: What Dokufest Has To Say About Reinventing Tradition: The 9th International Documentary and Short Film Festival (Dokufest)

      Agnes Malkinson
      October 2010
      Festival Reports
      Issue 56
  • Book Reviews
    Recent
    • Beyond Thumbs Up or Down: Aesthetic Evaluation and Film, by Andrew Klevan

      Agnes Malkinson
      December 2018
      Issue 89
    • Film in a Multiple Mirror: Reframing Luchino Visconti: Film and Art by Ivo Blom

      Agnes Malkinson
      December 2018
      Issue 89
    • McCarthyism’s Hollywood Year: Show Trial: Hollywood, HUAC, and the Birth of the Blacklist, by Thomas Doherty

      Agnes Malkinson
      December 2018
      Issue 89
    • The Semiotics of Wes Anderson: Wes Anderson’s Symbolic Storyworld: A Semiotic Analysis, by Warren Buckland

      Agnes Malkinson
      December 2018
      Issue 89
    more articles...
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    • Pride and Prejudice: Pauline Kael: A Life in the Dark by Brian Kellow

      Agnes Malkinson
      March 2012
      Book Reviews
      Issue 62
  • CTEQ
    Recent
    • See, Hear, and Speak of Evil: Three Monkeys (Nuri Bilge Ceylan, 2008)

      Agnes Malkinson
      February 2019
    • Fractured Images and Tainted Dreams: Sergio Leone’s Once upon a Time in America

      Agnes Malkinson
      February 2019
    • Ida Lupino’s Hard Noir: Private Hell 36 (Don Siegel, 1954)

      Agnes Malkinson
      October 2018
      Issue 88
    • Hail (Amiel Courtin-Wilson, 2011)

      Agnes Malkinson
      October 2018
      Issue 88
    more articles...
    Random
    • The Thief of Bagdad

      The Thief of Bagdad (Raoul Walsh, 1924)

      Agnes Malkinson
      September 2017
      Cinémathèque Annotations on Film
      Issue 84
  • Great Directors
    Recent
    • Takahata, Isao

      Agnes Malkinson
      December 2018
      Issue 89
    • Dovzhenko, Alexander

      Agnes Malkinson
      December 2018
      Issue 89
    • Weerasethakul, Apichatpong

      Agnes Malkinson
      October 2018
      Issue 88
    • Oliveira, Manoel de

      Agnes Malkinson
      October 2018
      Issue 88
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    • Antonioni, Michelangelo

      Agnes Malkinson
      May 2002
      Great Directors
      Issue 20 Issue 20
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Author Agnes Malkinson

Agnes Malkinson

Agnes Malkinson is a PhD student in Communication Studies at Carleton University, Canada. Her current area of study is focused on indirect modes of communication in audiovisual advertising.

thumb image

“Damn Fine Coffee” Advertising: David Lynch’s TV Commercial Adaptation of Twin Peaks

Agnes Malkinson
July 2016
"I'll See You in 25 Years": The Return of Twin Peaks and Television Aesthetics
Issue 79
“Damn fine coffee!” Agent Cooper exclaims, but he’s not praising the fresh brew of the Double R Diner or the Great Northern Hotel – in this context, Cooper prefers the smooth taste of Georgia brand...

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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