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

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

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

      Greg Dolgopolov
      October 2019
      Issue 92
    • Woody Allen: Television as Crisis

      Greg Dolgopolov
      October 2019
      Issue 92
    more articles...
    Random
    • new hollywood

      Pop Provocation: A tour of the outer limits of the New Hollywood

      Greg Dolgopolov
      July 2016
      Feature Articles
      Issue 79
  • Festival Reports
    Recent
    • Of liberation, and of states of undress and redress both: The 54th Karlovy Vary International Film Festival

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

      Greg Dolgopolov
      October 2019
      Issue 92
    • 22nd Revelation Perth Film Festival

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

      Greg Dolgopolov
      October 2019
      Issue 92
    more articles...
    Random
    • Where is Africa?: The 39th International Film Festival Rotterdam 2010

      Greg Dolgopolov
      April 2010
      Festival Reports
      Issue 54
  • Book Reviews
    Recent
    • This Is Not Another Reading of a Master: The Invention of Robert Bresson: the Auteur and his Market, by Colin Burnett

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

      Greg Dolgopolov
      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

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

      Greg Dolgopolov
      July 2019
      Issue 91
    more articles...
    Random
    • The Sinuous Line of World and Screen: On D.N. Rodowick’s Elegy for Theory and Philosophy’s Artful Conversations

      Greg Dolgopolov
      March 2015
      Book Reviews
      Issue 74
  • CTEQ
    Recent
    • Intimate Interiors: The Long Day Closes (Terence Davies, 1992)

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

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

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

      Greg Dolgopolov
      October 2019
      Issue 92
    more articles...
    Random
    • Ivan the Terrible Parts I and II

      Greg Dolgopolov
      March 2011
      Cinémathèque Annotations on Film
      Issue 58
  • Great Directors
    Recent
    • Fei Mu

      Greg Dolgopolov
      October 2019
      Issue 92
    • Huston, John

      Greg Dolgopolov
      July 2019
      Issue 91
    • Stone, Oliver

      Greg Dolgopolov
      July 2019
      Issue 91
    • Klapisch, Cédric

      Greg Dolgopolov
      March 2019
      Issue 90
    more articles...
    Random
    • Rossellini, Roberto

      Greg Dolgopolov
      July 2002
      Great Directors
      Issue 21
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Author Greg Dolgopolov

Greg Dolgopolov

Greg Dolgopolov is a lecturer in Film Studies at the University of New South Wales, Sydney.

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1998: Khrustalyov, My Car! (Aleksei German)

Greg Dolgopolov
December 2017
100 Years of Soviet Cinema
Issue 85
One of the most disturbing Russian films of all time, Khrustalyov, mashuni (Khrustalyov, My Car!, 1998) provides the audience with a firsthand experience of the madness, paranoia and absurdity that pervaded...
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1938: Alexander Nevsky (Sergei Eisenstein)

Greg Dolgopolov
December 2017
100 Years of Soviet Cinema
Issue 85
Aleksandr Nevskiy (Alexander Nevsky) is not central to Eisenstein’s theory of montage and is not considered to be one of his most important works, at least critically. Yet the film exhibits a powerful...
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1928: The House on Trubnaya (Boris Barnet)

Greg Dolgopolov
December 2017
100 Years of Soviet Cinema
Issue 85
Boris Barnet’s Dom na Trubnoi, Mezhrabpom-Rus (The House on Trubnaya, 1928) is a masterpiece of Soviet silent cinema. It is a delightful comedy of manners that satirises contemporary life in Moscow during...
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Gregor Jordan

Greg Dolgopolov
December 2013
Contemporary Australian Filmmakers
Issue 69
Gregor Jordan (b. 1966, Sale, Victoria) is a versatile Australian director recognised for his capacity to work across multiple platforms (cinema, television, online, documentary, shorts and music video) and...
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Khrustalyov, My Car!

Greg Dolgopolov
March 2013
Cinémathèque Annotations on Film
Issue 66
One of the most disturbing Russian films of all time, Khrustalyov, mashuni (Khrustalyov, My Car!, 1998) provides the audience with a firsthand experience of the madness, paranoia and absurdity that pervaded...
thumb image

The House on Trubnaya

Greg Dolgopolov
September 2012
Cinémathèque Annotations on Film
Issue 64
Boris Barnet’s Dom na Trubnoi, Mezhrabpom-Rus (The House on Trubnaya, 1928) is a masterpiece of Soviet silent cinema. It is a delightful comedy of manners that satirises contemporary life in Moscow during...
thumb image

Alexander Nevsky

Greg Dolgopolov
March 2011
Cinémathèque Annotations on Film
Issue 58
Aleksandr Nevskiy (Alexander Nevsky) is not central to Eisenstein’s theory of montage and is not considered to be one of his most important works, at least critically. Yet the film exhibits a powerful...
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“A pointed condemnation of an effete Western society”: The Adventures of Barry McKenzie (Bruce Beresford, 1972)

Greg Dolgopolov
March 2011
Key Moments in Australian Cinema
Issue 58
Contemporary Australian cinema has lost any sense of spontaneity or carnivalesque excess in the prison house of worthiness and realism. Aside from genre films, there are now few moments of bedlam, scatological...
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Igla (The Needle)

Greg Dolgopolov
July 2010
Cinémathèque Annotations on Film
Issue 55
1988 was a high point in the cultural transformations that exploded under perestroika. The films produced under these new conditions bore the malignant fruits of glasnost combined with the promise of fresh...
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Asya’s Happiness

Greg Dolgopolov
December 2009
Cinémathèque Annotations on Film
Issue 53
Istoriya Asi Klyachinoy, kotoraya lyubila, da ne vyshla zamuzh (Asya’s Happiness) is a seminal film, a film that suffered numerous title changes and edits by edict. It is a rediscovered classic that was...
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Ruslan and Ludmila/Ruslan i Lyudmila

Greg Dolgopolov
May 2007
Cinémathèque Annotations on Film
Issue 43
Ruslan and Ludmila/Ruslan i Lyudmila (USSR 1972 149 mins) Prod Co: Mosfilm Dir: Alexander Ptushko Scr: Alexander Ptushko, adapted from Alexander Pushkin Phot: I. Gelein, V. Zakharov SFX: I. Felitsyn, E....
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Imagining Iran: A Symposium on Iranian Cinema

Greg Dolgopolov
February 2006
Festival Reports
Issue 38
November 18, 2005 School of Media, Film & Theatre, University of New South Wales Censorship, lepers, allegory, half-made cinema, self-conscious naivety, neo neo-realism, national cinephilia,...

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