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

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

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

      Martyn Bamber
      October 2019
      Issue 92
    • Woody Allen: Television as Crisis

      Martyn Bamber
      October 2019
      Issue 92
    more articles...
    Random
    • You Live Till You Die: Fatih Akin’s Hesitant Vigilante

      Martyn Bamber
      June 2018
      Feature Articles
      Issue 87
  • Festival Reports
    Recent
    • Of liberation, and of states of undress and redress both: The 54th Karlovy Vary International Film Festival

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

      Martyn Bamber
      October 2019
      Issue 92
    • 22nd Revelation Perth Film Festival

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

      Martyn Bamber
      October 2019
      Issue 92
    more articles...
    Random
    • Between Hollywood and the Socialist/Colonial East: The 5th Hanoi International Film Festival

      Martyn Bamber
      December 2018
      Festival Reports
      Issue 89
  • Book Reviews
    Recent
    • This Is Not Another Reading of a Master: The Invention of Robert Bresson: the Auteur and his Market, by Colin Burnett

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

      Martyn Bamber
      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

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

      Martyn Bamber
      July 2019
      Issue 91
    more articles...
    Random
    • The Said and the Unsaid (Part I): Australian Film Theory & Criticism (3 vols.), ed. Noel King, Constantine Verevis and Deane Williams

      Martyn Bamber
      October 2018
      Book Reviews
      Issue 88
  • CTEQ
    Recent
    • Intimate Interiors: The Long Day Closes (Terence Davies, 1992)

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

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

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

      Martyn Bamber
      October 2019
      Issue 92
    more articles...
    Random
    • The Smell of Burning Ants

      The Smell of Burning Ants

      Martyn Bamber
      August 2013
      Cinémathèque Annotations on Film
      Issue 68
  • Great Directors
    Recent
    • Fei Mu

      Martyn Bamber
      October 2019
      Issue 92
    • Huston, John

      Martyn Bamber
      July 2019
      Issue 91
    • Stone, Oliver

      Martyn Bamber
      July 2019
      Issue 91
    • Klapisch, Cédric

      Martyn Bamber
      March 2019
      Issue 90
    more articles...
    Random
    • Griffith, D.W.

      Martyn Bamber
      July 2006
      Great Directors
      Issue 40
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Author Martyn Bamber

Martyn Bamber

Martyn Bamber works in subtitling and translation, and is based in London. He has previously written for Senses of Cinema, and is a contributor to the book Are You in the House Alone? A TV Movie Compendium: 1964–1999.

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The Old Dark House: Cinemagoing in the age of streaming

Martyn Bamber
October 2019
This is what defined cinema in the 2010s
Issue 92
How has cinema changed over the last 10 years? This question is not about the art or business of cinema; it refers to the cinemagoing experience itself. Arguably, the movement that has had – and continues to...
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The Terence Davies Trilogy (Terence Davies, 1976/1980/1983)

Martyn Bamber
October 2019
Cinémathèque Annotations on Film
Issue 92
The autobiographical films of Terence Davies are not simply nostalgic journeys into the director’s past; they are piercing insights into the filmmaker’s turbulent early life. While Distant Voices, Still...
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A New Leaf (Elaine May, 1971)

Martyn Bamber
July 2019
Cinémathèque Annotations on Film
Issue 91
Elaine May’s film directing debut, A New Leaf (1971) is a pitch-black comedy centred on Henry Graham (Walter Matthau), an affluent, self-absorbed bachelor, who finds his expensive lifestyle in jeopardy due...
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Early Spring (Yasujiro Ozu, 1956)

Martyn Bamber
March 2019
Cinémathèque Annotations on Film
Issue 90
Sōshun (Early Spring, 1956) follows Yasujirō Ozu’s classic Tōkyō monogatari (Tokyo Story, 1953) in continuing to develop the director’s characteristic themes, including the demands of family life, the...
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Moontide (Archie Mayo & Fritz Lang, 1942)

Martyn Bamber
October 2018
Cinémathèque Annotations on Film
Issue 88
Emerging from a troubled production history, Moontide seems overlooked in the annals of film history in general, and the story of 20th Century-Fox in particular. For instance, the entry on Moontide in The...
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The Bride Wore Black (François Truffaut, 1968)

Martyn Bamber
March 2018
Cinémathèque Annotations on Film
Issue 86
Made during the period of François Truffaut’s fascination with Alfred Hitchcock, the French auteur’s La mariée était en noir (The Bride Wore Black, 1968) looks to the master of suspense for inspiration...
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Zwartboek (Black Book, Paul Verhoeven, 2006)

Martyn Bamber
June 2017
Cinémathèque Annotations on Film
Issue 83
Zwartboek (Black Book) is a Holland homecoming for director Paul Verhoeven, returning to the Netherlands from the United States after the technically accomplished but narratively conventional (for Verhoeven)...
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Raising Arizona (Joel and Ethan Coen, 1987)

Martyn Bamber
March 2017
Cinémathèque Annotations on Film
Issue 82
The Coen Brothers’ filmography can be broadly split into two strands: the serious works such as Blood Simple (1984), Fargo (1996) and No Country for Old Men (2007), and comedic diversions like The Big...
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The Ballad of Cable Hogue

Martyn Bamber
October 2014
Cinémathèque Annotations on Film
Issue 72
Sam Peckinpah has a popular reputation as a macho movie director obsessed with portraying graphic scenes of violence and pursuing a relentlessly misogynistic outlook, particularly in the films he made after...
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Living for the Moment: Not Quite Hollywood: The Wild, Untold Story of Ozploitation! (Mark Hartley, 2008)

Martyn Bamber
February 2014
Key Moments in Australian Cinema
Issue 70
“If you like outrageous cinema, you live and breathe to wait for those weird moments that happen every once in a while in genre cinema, where it’s like, you can’t believe you’re seeing what you’re...
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In the Land of the Deaf

Martyn Bamber
October 2011
Cinémathèque Annotations on Film
Issue 60
The film starts in virtual silence. There is no music or dialogue, and the only sound we hear is some faint background noise. We see four people standing before some music stands and gesturing at each other in...
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Day of Wrath

Martyn Bamber
May 2008
Cinémathèque Annotations on Film
Issue 47
Day of Wrath/Vredens dag (1943 Denmark 100 mins) Prod Co: Palladium Film Prod: Tage Nielsen Dir: Carl Theodor Dreyer Scr: Mogens Skot-Hansen, Poul Knudsen, Carl Theodor Dreyer, based on the play Anne...
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