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	<title>Senses of Cinema &#187; John Fidler</title>
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	<link>http://sensesofcinema.com</link>
	<description>Issue 62</description>
	<lastBuildDate>Tue, 21 May 2013 02:18:09 +0000</lastBuildDate>
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		<title>Anatomy of a Murder</title>
		<link>http://sensesofcinema.com/2013/cteq/anatomy-of-a-murder/</link>
		<comments>http://sensesofcinema.com/2013/cteq/anatomy-of-a-murder/#comments</comments>
		<pubDate>Sat, 16 Mar 2013 07:40:55 +0000</pubDate>
		<dc:creator>John Fidler</dc:creator>
				<category><![CDATA[Cinémathèque Annotations on Film]]></category>
		<category><![CDATA[Issue 66 | March 2013]]></category>
		<category><![CDATA[Anatomy of a Murder]]></category>
		<category><![CDATA[James Stewart]]></category>
		<category><![CDATA[Otto Preminger]]></category>

		<guid isPermaLink="false">http://sensesofcinema.com/?p=15916</guid>
		<description><![CDATA[In an interview with his fellow filmmaker Peter Bogdanovich, Otto Preminger speaks of the influence of the law on his life and work. Preminger’s father was a District Attorney and Attorney General for the Austro-Hungarian Empire (1) and, even though Otto studied law formally, his education sprang more from his attachment to the law through ]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Time Regained</title>
		<link>http://sensesofcinema.com/2012/cteq/time-regained/</link>
		<comments>http://sensesofcinema.com/2012/cteq/time-regained/#comments</comments>
		<pubDate>Tue, 28 Aug 2012 01:13:02 +0000</pubDate>
		<dc:creator>John Fidler</dc:creator>
				<category><![CDATA[Cinémathèque Annotations on Film]]></category>
		<category><![CDATA[Issue 64 | September 2012]]></category>
		<category><![CDATA[Raúl Ruiz]]></category>
		<category><![CDATA[Time Regained]]></category>

		<guid isPermaLink="false">http://sensesofcinema.com/?p=12067</guid>
		<description><![CDATA[“time is a fluid condition which has no existence except in the momentary avatars of individual people. There is no such thing as was – only is.” - William Faulkner, interview in The Paris Review, Spring 1956 The sculptor can’t do it. Neither can the painter. The architect and the choreographer… perhaps. But the composer, ]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Green Fish</title>
		<link>http://sensesofcinema.com/2012/cteq/green-fish/</link>
		<comments>http://sensesofcinema.com/2012/cteq/green-fish/#comments</comments>
		<pubDate>Thu, 21 Jun 2012 03:58:51 +0000</pubDate>
		<dc:creator>John Fidler</dc:creator>
				<category><![CDATA[Cinémathèque Annotations on Film]]></category>
		<category><![CDATA[Issue 63 | July 2012]]></category>
		<category><![CDATA[Chorok mulkogi]]></category>
		<category><![CDATA[Green Fish]]></category>
		<category><![CDATA[Lee Chang-dong]]></category>

		<guid isPermaLink="false">http://sensesofcinema.com/?p=11482</guid>
		<description><![CDATA[Lee Chang-dong’s wrenching, tonally nuanced first film, Chorok mulkogi (Green Fish, 1997), packs a quiet wallop. By turns emotionally coercive, visually subtle, and as ruthless as the ritual pummeling its main character endures with a fatalistic surrender, Green Fish careens from breaking point to breaking point, resting only for a moment until the next crisis ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2012/cteq/green-fish/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>The Apartment Plot: Urban Living in American Film and Popular Culture, 1945 to 1975 by Pamela Robertson Wojcik</title>
		<link>http://sensesofcinema.com/2011/book-reviews/the-apartment-plot-urban-living-in-american-film-and-popular-culture-1945-to-1975-by-pamela-robertson-wojcik/</link>
		<comments>http://sensesofcinema.com/2011/book-reviews/the-apartment-plot-urban-living-in-american-film-and-popular-culture-1945-to-1975-by-pamela-robertson-wojcik/#comments</comments>
		<pubDate>Thu, 23 Jun 2011 14:44:14 +0000</pubDate>
		<dc:creator>John Fidler</dc:creator>
				<category><![CDATA[Book Reviews]]></category>
		<category><![CDATA[Issue 59 | June 2011]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=8981</guid>
		<description><![CDATA[In Billy Wilder’s hilariously acid The Fortune Cookie (1966), sports cameraman Harry Hinkle (Jack Lemmon) gets clobbered by football star Luther “Boom Boom” Jackson (Ron Rich) when Jackson is tackled along the sidelines. Conniving lawyer Willie Gingrich (Walter Matthau) convinces Harry, his hapless brother-in-law, to fake a more serious injury so they can make a ]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>The Tactile Eye: Touch and the Cinematic Experience by Jennifer M. Barker Moving Viewers: American Film and the Spectator’s Experience by Carl Plantinga</title>
		<link>http://sensesofcinema.com/2010/book-reviews/the-tactile-eye-touch-and-the-cinematic-experience-by-jennifer-m-barker-moving-viewers-american-film-and-the-spectator%e2%80%99s-experience-by-carl-plantinga/</link>
		<comments>http://sensesofcinema.com/2010/book-reviews/the-tactile-eye-touch-and-the-cinematic-experience-by-jennifer-m-barker-moving-viewers-american-film-and-the-spectator%e2%80%99s-experience-by-carl-plantinga/#comments</comments>
		<pubDate>Mon, 20 Dec 2010 09:36:35 +0000</pubDate>
		<dc:creator>John Fidler</dc:creator>
				<category><![CDATA[Book Reviews]]></category>
		<category><![CDATA[Issue 57 | December 2010]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=4601</guid>
		<description><![CDATA[Towards the end of Pedro Almodóvar’s Broken Embraces (Los abrazos rotos, 2009) – his sad, playful, colour-saturated tribute to his own and so many others’ films – Harry Caine/Mateo Blanco (Lluís Homar) caresses the screen upon which images from a surreptitiously shot surveillance video play. The images are of Harry and Lena (Penélope Cruz) exchanging ]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Irma Vep</title>
		<link>http://sensesofcinema.com/2010/cteq/irma-vep/</link>
		<comments>http://sensesofcinema.com/2010/cteq/irma-vep/#comments</comments>
		<pubDate>Mon, 11 Oct 2010 12:11:11 +0000</pubDate>
		<dc:creator>John Fidler</dc:creator>
				<category><![CDATA[Cinémathèque Annotations on Film]]></category>
		<category><![CDATA[Issue 56 | October 2010]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=3308</guid>
		<description><![CDATA[With its rapid cuts, roaming camera, passel of characters (some of them so pitiful they seem always in need of a hug or maybe a swat on the behind), sense that chaos is only a phone call or knock of the door away, and wry subject – the making of an “important” French film – Olivier Assayas’ ]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>How to watch a movie: The Horse Who Drank the Sky: Film Experience Beyond Narrative and Theory by Murray Pomerance</title>
		<link>http://sensesofcinema.com/2010/book-reviews/how-to-watch-a-movie-the-horse-who-drank-the-sky-film-experience-beyond-narrative-and-theory-by-murray-pomerance/</link>
		<comments>http://sensesofcinema.com/2010/book-reviews/how-to-watch-a-movie-the-horse-who-drank-the-sky-film-experience-beyond-narrative-and-theory-by-murray-pomerance/#comments</comments>
		<pubDate>Sun, 04 Apr 2010 16:34:05 +0000</pubDate>
		<dc:creator>John Fidler</dc:creator>
				<category><![CDATA[Book Reviews]]></category>
		<category><![CDATA[Issue 54]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=2599</guid>
		<description><![CDATA[WALDO PEPPER [Robert Redford]: Do you like movies? MARY BETH [Susan Sarandon]: Mmm-hmmm. – The Great Waldo Pepper (George Roy Hill, 1975) … perhaps one must become the films one loves. – Murray Pomerance (1) A moment in Psycho (1960), Alfred Hitchcock’s dark and grisly comedy about the dangers of being too close to your ]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>La ronde</title>
		<link>http://sensesofcinema.com/2010/cteq/la-ronde/</link>
		<comments>http://sensesofcinema.com/2010/cteq/la-ronde/#comments</comments>
		<pubDate>Sun, 04 Apr 2010 16:27:17 +0000</pubDate>
		<dc:creator>John Fidler</dc:creator>
				<category><![CDATA[Cinémathèque Annotations on Film]]></category>
		<category><![CDATA[Issue 54]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=2589</guid>
		<description><![CDATA[A recent roundup of prostitutes in a small town yielded a collection of mug shots of the women of the night. Looking at these empty, grey faces staring blindly into the same kind of camera that departments of transportation use for drivers licenses, one couldn’t help asking, “Who would spend money – or time – ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2010/cteq/la-ronde/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Commissar</title>
		<link>http://sensesofcinema.com/2009/cteq/commissar/</link>
		<comments>http://sensesofcinema.com/2009/cteq/commissar/#comments</comments>
		<pubDate>Mon, 28 Dec 2009 07:40:04 +0000</pubDate>
		<dc:creator>John Fidler</dc:creator>
				<category><![CDATA[Cinémathèque Annotations on Film]]></category>
		<category><![CDATA[Issue 53]]></category>
		<category><![CDATA[Commissar]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=335</guid>
		<description><![CDATA[The only male soldier in Aleksandr Askoldov’s Commissar who shows up ready for a fight as the Russian Civil War lurches on is a child. The opening scenes of this monumental film are chock-a-block with bedraggled soldiers of a defeated White army, hauling themselves and their rickety cannons from another time through a grey and ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2009/cteq/commissar/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>The Decline of Sentiment: American Film in the 1920s by Lea Jacobs</title>
		<link>http://sensesofcinema.com/2009/book-reviews/decline-of-sentiment/</link>
		<comments>http://sensesofcinema.com/2009/book-reviews/decline-of-sentiment/#comments</comments>
		<pubDate>Tue, 14 Apr 2009 00:16:15 +0000</pubDate>
		<dc:creator>John Fidler</dc:creator>
				<category><![CDATA[Book Reviews]]></category>
		<category><![CDATA[Issue 50]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=2129</guid>
		<description><![CDATA[“I should have been a pair of ragged claws, scuttling across the floors of silent seas…” Too sentimental! – Boris (Woody Allen), as he throws out one of his poems (which is from T.S. Eliot’s “The Love Song of J. Alfred Prufrock”) in Allen’s Love and Death (1975) But, of course, only those who have ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2009/book-reviews/decline-of-sentiment/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>The Saragossa Manuscript</title>
		<link>http://sensesofcinema.com/2009/feature-articles/saragossa-manuscript/</link>
		<comments>http://sensesofcinema.com/2009/feature-articles/saragossa-manuscript/#comments</comments>
		<pubDate>Mon, 02 Feb 2009 23:28:03 +0000</pubDate>
		<dc:creator>John Fidler</dc:creator>
				<category><![CDATA[Feature Articles]]></category>
		<category><![CDATA[Issue 49]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=2544</guid>
		<description><![CDATA[A new article to coincide with screenings at the <a href="http://www.acmi.net.au" target="_blank">Australian Centre For the Moving Image</a> in Melbourne]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2009/feature-articles/saragossa-manuscript/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Fury</title>
		<link>http://sensesofcinema.com/2008/cteq/fury/</link>
		<comments>http://sensesofcinema.com/2008/cteq/fury/#comments</comments>
		<pubDate>Wed, 27 Aug 2008 06:23:42 +0000</pubDate>
		<dc:creator>John Fidler</dc:creator>
				<category><![CDATA[Cinémathèque Annotations on Film]]></category>
		<category><![CDATA[Issue 48]]></category>
		<category><![CDATA[Fritz Lang]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=2266</guid>
		<description><![CDATA[Fury (1936 US 92 mins) Prod Co: MGM Prod: Joseph L. Mankiewicz Dir: Fritz Lang Scr: Bartlett Cormack, Fritz Lang, from the story “Mob Rule” by Norman Krasna Phot: Joseph Ruttenberg Ed: Frank Sullivan Art Dir: Cedric Gibbons Mus: Franz Waxman Cast: Sylvia Sidney, Spencer Tracy, Walter Abel, Bruce Cabot, Edward Ellis, Walter Brennan, Frank  ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2008/cteq/fury/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Killer of Sheep: The Charles Burnett Collection (Milestone Film &amp; Video)</title>
		<link>http://sensesofcinema.com/2008/47/killer-of-sheep/</link>
		<comments>http://sensesofcinema.com/2008/47/killer-of-sheep/#comments</comments>
		<pubDate>Sun, 20 Apr 2008 00:34:59 +0000</pubDate>
		<dc:creator>John Fidler</dc:creator>
				<category><![CDATA[DVD Reviews]]></category>
		<category><![CDATA[Issue 47]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=2429</guid>
		<description><![CDATA[A vehicle crawls along a road that cuts across a brown and dusty landscape, where an African-American youngster tends an ailing horse. Three shiftless white men gather on a porch, talking of wasting time, waiting for nothing. A fourth watches over the horse, then the boy, but like his cohorts on the porch seems to ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2008/47/killer-of-sheep/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>State Legislature</title>
		<link>http://sensesofcinema.com/2008/cteq/state-legislature/</link>
		<comments>http://sensesofcinema.com/2008/cteq/state-legislature/#comments</comments>
		<pubDate>Sun, 16 Mar 2008 07:11:55 +0000</pubDate>
		<dc:creator>John Fidler</dc:creator>
				<category><![CDATA[Cinémathèque Annotations on Film]]></category>
		<category><![CDATA[Issue 46]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=2297</guid>
		<description><![CDATA[State Legislature (2006 USA 217 mins) Prod Co: Zipporah Films, Inc. Prod, Dir, Ed, Sound: Frederick Wiseman Phot: John Davey Let us go then, you and I, When the evening is spread out against the sky Like a patient etherised upon a table &#8230;. - T.S. Eliot, “The Love Song of J. Alfred Prufrock” They ]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Physical Evidence: Selected Film Criticism by Kent Jones</title>
		<link>http://sensesofcinema.com/2008/book-reviews/physical-evidence-jones/</link>
		<comments>http://sensesofcinema.com/2008/book-reviews/physical-evidence-jones/#comments</comments>
		<pubDate>Sun, 16 Mar 2008 05:12:33 +0000</pubDate>
		<dc:creator>John Fidler</dc:creator>
				<category><![CDATA[Book Reviews]]></category>
		<category><![CDATA[Issue 46]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=2157</guid>
		<description><![CDATA[The critic must have two things: personality and an ax to grind. – Eric Bentley, critic and playwright (1) In his review of Todd Haynes’ I’m Not There (2007) in The Nation – an American magazine of political commentary that has been stirring up its readers since 1865 – Kent Jones blasts off. Jones never ]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>America First: Naming the Nation in US Film edited by Mandy Merck</title>
		<link>http://sensesofcinema.com/2007/book-reviews/america-first/</link>
		<comments>http://sensesofcinema.com/2007/book-reviews/america-first/#comments</comments>
		<pubDate>Sun, 25 Nov 2007 00:13:41 +0000</pubDate>
		<dc:creator>John Fidler</dc:creator>
				<category><![CDATA[Book Reviews]]></category>
		<category><![CDATA[Issue 45]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=2163</guid>
		<description><![CDATA[WILLIE [John Lurie] (eating a TV dinner): Eva, stop bugging me, will you? You know, this is the way we eat in America. I got my meat, I got my potatoes, I got my vegetables, I got my dessert, and I don&#8217;t even have to wash the dishes. – Stranger Than Paradise (Jim Jarmusch, 1984) ]]></description>
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		<slash:comments>0</slash:comments>
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		<item>
		<title>American Movie Critics: An Anthology From the Silents Until Now edited by Phillip Lopate</title>
		<link>http://sensesofcinema.com/2007/book-reviews/american-movie-critics/</link>
		<comments>http://sensesofcinema.com/2007/book-reviews/american-movie-critics/#comments</comments>
		<pubDate>Mon, 27 Aug 2007 00:36:32 +0000</pubDate>
		<dc:creator>John Fidler</dc:creator>
				<category><![CDATA[Book Reviews]]></category>
		<category><![CDATA[Issue 44]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=2170</guid>
		<description><![CDATA[The aim of all commentary on art now should be to make works of art – and, by analogy, our own experience – more, rather than less, real to us. The function of criticism should be to show how it is what it is, even that it is what it is, rather than to show ]]></description>
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