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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

      Jean-Louis Comolli
      December 2018
      Issue 89
    • Audience and Performance in Kid Auto Races at Venice

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

      Jean-Louis Comolli
      December 2018
      Issue 89
    • Four Years of the Nitrate Picture Show, Part 1: Beautiful Colour – Tinting and Toning

      Jean-Louis Comolli
      December 2018
      Issue 89
    more articles...
    Random
    • No Country for Old Men, Visual Regime, Mental Image and Narrative Slowness

      Jean-Louis Comolli
      October 2011
      Feature Articles
      Issue 60
  • Festival Reports
    Recent
    • #Youmustsee: The 2018 Adelaide International Film Festival

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

      Jean-Louis Comolli
      December 2018
      Issue 89
    • Between Hollywood and the Socialist/Colonial East: The 5th Hanoi International Film Festival

      Jean-Louis Comolli
      December 2018
      Issue 89
    • Film Culture and Corporate Enterprise at the 62nd BFI London Film Festival

      Jean-Louis Comolli
      December 2018
      Issue 89
    more articles...
    Random
    • Adelaide film festival review

      Ghostly Wanderings Between Cinema and the Gallery: 2015 Adelaide Film Festival

      Jean-Louis Comolli
      December 2015
      Festival Reports
      Issue 77
  • Book Reviews
    Recent
    • Beyond Thumbs Up or Down: Aesthetic Evaluation and Film, by Andrew Klevan

      Jean-Louis Comolli
      December 2018
      Issue 89
    • Film in a Multiple Mirror: Reframing Luchino Visconti: Film and Art by Ivo Blom

      Jean-Louis Comolli
      December 2018
      Issue 89
    • McCarthyism’s Hollywood Year: Show Trial: Hollywood, HUAC, and the Birth of the Blacklist, by Thomas Doherty

      Jean-Louis Comolli
      December 2018
      Issue 89
    • The Semiotics of Wes Anderson: Wes Anderson’s Symbolic Storyworld: A Semiotic Analysis, by Warren Buckland

      Jean-Louis Comolli
      December 2018
      Issue 89
    more articles...
    Random
    • World Cinema

      Understanding Genre in a Globalized World: World Cinema through Global Genres, by William V. Costanzo

      Jean-Louis Comolli
      December 2015
      Book Reviews
      Issue 77
  • CTEQ
    Recent
    • See, Hear, and Speak of Evil: Three Monkeys (Nuri Bilge Ceylan, 2008)

      Jean-Louis Comolli
      February 2019
    • Fractured Images and Tainted Dreams: Sergio Leone’s Once upon a Time in America

      Jean-Louis Comolli
      February 2019
    • Ida Lupino’s Hard Noir: Private Hell 36 (Don Siegel, 1954)

      Jean-Louis Comolli
      October 2018
      Issue 88
    • Hail (Amiel Courtin-Wilson, 2011)

      Jean-Louis Comolli
      October 2018
      Issue 88
    more articles...
    Random
    • Hollywood, Germany: The Longing of Rainer Werner Fassbinder’s Veronika Voss

      Jean-Louis Comolli
      June 2011
      Cinémathèque Annotations on Film
      Issue 59
  • Great Directors
    Recent
    • Takahata, Isao

      Jean-Louis Comolli
      December 2018
      Issue 89
    • Dovzhenko, Alexander

      Jean-Louis Comolli
      December 2018
      Issue 89
    • Weerasethakul, Apichatpong

      Jean-Louis Comolli
      October 2018
      Issue 88
    • Oliveira, Manoel de

      Jean-Louis Comolli
      October 2018
      Issue 88
    more articles...
    Random
    • Gorin, Jean-Pierre

      Jean-Louis Comolli
      January 2003
      Great Directors
      Issue 24
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Author Jean-Louis Comolli

Jean-Louis Comolli

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Ginette Lavigne’s La belle journée

Jean-Louis Comolli
March 2012
Feature Articles
Issue 62
Ginette Lavigne’s film offers a radical alternative to conventional uses of the sound/image dynamic.
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New Interview with Eric Rohmer

Jean-Louis Comolli
April 2010
Eric Rohmer Dossier, Feature Articles, Special Dossiers
Issue 54
A landmark interview originally published in Cahiers du cinéma in 1970. The journal was in the midst of its Marxist/Leninist era, while Rohmer's Bazinian idealism was vindicated by the success of My Night at Maud’s. A fascinating joust between two entirely opposed views of the cinema

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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