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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

      Alex Cobb
      December 2018
      Issue 89
    • Audience and Performance in Kid Auto Races at Venice

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

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

      Alex Cobb
      December 2018
      Issue 89
    more articles...
    Random
    • Rules of the Game: Watching the World Cup Final in a Tehran Cinema

      Alex Cobb
      October 2010
      Feature Articles
      Issue 56
  • Festival Reports
    Recent
    • #Youmustsee: The 2018 Adelaide International Film Festival

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

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

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

      Alex Cobb
      December 2018
      Issue 89
    more articles...
    Random
    • No. 1 Chung Yung Street (Sung Kee Chiu, 2018)

      New Achievements, New Challenges: The 20th Far East Film Festival

      Alex Cobb
      June 2018
      Festival Reports
      Issue 87
  • Book Reviews
    Recent
    • Beyond Thumbs Up or Down: Aesthetic Evaluation and Film, by Andrew Klevan

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

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

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

      Alex Cobb
      December 2018
      Issue 89
    more articles...
    Random
    • Darwin’s Screens: Evolutionary Aesthetics, Time and Sexual Display in the Cinema by Barbara Creed

      Alex Cobb
      June 2011
      Book Reviews
      Issue 59
  • CTEQ
    Recent
    • See, Hear, and Speak of Evil: Three Monkeys (Nuri Bilge Ceylan, 2008)

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

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

      Alex Cobb
      October 2018
      Issue 88
    • Hail (Amiel Courtin-Wilson, 2011)

      Alex Cobb
      October 2018
      Issue 88
    more articles...
    Random
    • Basic Instinct

      Cinema as Sex on Cocaine: Basic Instinct (Paul Verhoeven, 1992)

      Alex Cobb
      June 2017
      Cinémathèque Annotations on Film
      Issue 83
  • Great Directors
    Recent
    • Takahata, Isao

      Alex Cobb
      December 2018
      Issue 89
    • Dovzhenko, Alexander

      Alex Cobb
      December 2018
      Issue 89
    • Weerasethakul, Apichatpong

      Alex Cobb
      October 2018
      Issue 88
    • Oliveira, Manoel de

      Alex Cobb
      October 2018
      Issue 88
    more articles...
    Random
    • Lean, David

      Alex Cobb
      February 2004
      Great Directors
      Issue 30
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Author Alex Cobb

Alex Cobb

Alex Cobb recently completed degrees in philosophy and English at Xavier University. He is the owner of Students of Decay Records.

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Cinema of Pre-predication: On Stan Brakhage and the Phenomenology of Maurice Merleau-Ponty

Alex Cobb
August 2007
Feature Articles
Issue 44
“Brakhage gives us phenomenologies on celluloid.” So argues Alex Cobb as he draws out the affinities between the filmmaker and the philosopher.

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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