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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

      Louise Sheedy
      December 2018
      Issue 89
    • Audience and Performance in Kid Auto Races at Venice

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

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

      Louise Sheedy
      December 2018
      Issue 89
    more articles...
    Random
    • Powell and Pressburger

      Gone to Earth: The Pagan Pastoral in Powell and Pressburger

      Louise Sheedy
      May 2017
      Feature Articles
      Issue 83
  • Festival Reports
    Recent
    • #Youmustsee: The 2018 Adelaide International Film Festival

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

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

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

      Louise Sheedy
      December 2018
      Issue 89
    more articles...
    Random
    • Where is Africa?: The 39th International Film Festival Rotterdam 2010

      Louise Sheedy
      April 2010
      Festival Reports
      Issue 54
  • Book Reviews
    Recent
    • Beyond Thumbs Up or Down: Aesthetic Evaluation and Film, by Andrew Klevan

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

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

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

      Louise Sheedy
      December 2018
      Issue 89
    more articles...
    Random
    • Michael Haneke’s Cinema: The Ethic of the Image by Catherine Wheatley

      Louise Sheedy
      December 2009
      Book Reviews
      Issue 53
  • CTEQ
    Recent
    • See, Hear, and Speak of Evil: Three Monkeys (Nuri Bilge Ceylan, 2008)

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

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

      Louise Sheedy
      October 2018
      Issue 88
    • Hail (Amiel Courtin-Wilson, 2011)

      Louise Sheedy
      October 2018
      Issue 88
    more articles...
    Random
    • Mr Neal

      Don’t Let The Bastards Win: Daryl Dellora’s Mr Neal is Entitled to Be an Agitator (1991)

      Louise Sheedy
      September 2017
      Cinémathèque Annotations on Film
      Issue 84
  • Great Directors
    Recent
    • Takahata, Isao

      Louise Sheedy
      December 2018
      Issue 89
    • Dovzhenko, Alexander

      Louise Sheedy
      December 2018
      Issue 89
    • Weerasethakul, Apichatpong

      Louise Sheedy
      October 2018
      Issue 88
    • Oliveira, Manoel de

      Louise Sheedy
      October 2018
      Issue 88
    more articles...
    Random
    • Bergman, Ingmar

      Louise Sheedy
      December 2002
      Great Directors
      Issue 23
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Author Louise Sheedy

Louise Sheedy

Louise Sheedy is the program coordinator of the Melbourne Cinémathèque and a PhD candidate in Cinema Studies at the University of Melbourne. Her thesis examines the interplay of politics and aesthetics in critical documentary on the Vietnam War.

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Funeral for a Memory: Patricio Guzmán’s Salvador Allende

Louise Sheedy
November 2012
Cinémathèque Annotations on Film
Issue 65
“Memory is crucial to the understanding of a culture precisely because it indicates collective desires, needs and self-definitions. We need not to ask whether a memory is true but rather what its telling...
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Nénette

Louise Sheedy
October 2011
Cinémathèque Annotations on Film
Issue 60
The film is as much about ourselves as it is about orang-utans . Nénette is a mystery. We don't know what she thinks or if she thinks at all… She is a receptacle for our fantasies. She is a projection...
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Zu: Warriors from the Magic Mountain

Louise Sheedy
March 2011
Cinémathèque Annotations on Film
Issue 58
Xin shu shan jian ke (Zu: Warriors from the Magic Mountain), Tsui Hark’s explosive fantasy epic, was made and released during an equally dynamic period of Hong Kong history. This dynamism also defines its...
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Beginnings

Louise Sheedy
October 2010
Cinémathèque Annotations on Film
Issue 56
Upon its release, Beginnings screened to “full houses over a week at Glenn College Lecture Hall, subsequently the Carlton Theatre and to various trade unions and peace groups” (1). This documentary...
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Arts Vietnam: A Protest to Stop the War

Louise Sheedy
October 2010
Cinémathèque Annotations on Film
Issue 56
The anxious, discordant strings that accompany the blackness that opens Arts Vietnam: A Protest to Stop the War set up an uneasy relationship between the film and the audience, a tension that remains...
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“All the Thrills of the Exotic”: Collective Memory and Cultural Performance in Chris Marker’s Dimanche á Pekin

Louise Sheedy
September 2009
Cinémathèque Annotations on Film
Issue 52
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Ghouls, Gimmicks and Gold: Horror Films and the American Movie Business, 1953-1968 by Kevin Heffernan

Louise Sheedy
November 2006
Book Reviews
Issue 41
If one of the benchmarks for the success of a historical analysis is its conceptual transferability onto contemporary situations, then Kevin Heffernan’s Ghouls, Gimmicks and Gold is very successful indeed....
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Short Site: Recent Australian Short Film edited by Emma Crimmings and Rhys Graham

Louise Sheedy
May 2006
Book Reviews
Issue 39
Short films roam the Australian landscape in packs. While largely a nomadic species, their chosen habitats consist of festivals and specialist screenings in galleries or dimly lit bars, their numbers...

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