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

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

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

      Simon Petri
      October 2019
      Issue 92
    • Woody Allen: Television as Crisis

      Simon Petri
      October 2019
      Issue 92
    more articles...
    Random
    • L’amour fou: A Revolution in Realism, Reflexivity, and Oneiric Reverie

      Simon Petri
      December 2011
      Feature Articles
      Issue 61
  • Festival Reports
    Recent
    • Of liberation, and of states of undress and redress both: The 54th Karlovy Vary International Film Festival

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

      Simon Petri
      October 2019
      Issue 92
    • 22nd Revelation Perth Film Festival

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

      Simon Petri
      October 2019
      Issue 92
    more articles...
    Random
    • Screening Desire: BFI Flare London LGBTQ+ Film Festival

      Simon Petri
      July 2019
      Festival Reports
      Issue 91
  • Book Reviews
    Recent
    • This Is Not Another Reading of a Master: The Invention of Robert Bresson: the Auteur and his Market, by Colin Burnett

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

      Simon Petri
      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

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

      Simon Petri
      July 2019
      Issue 91
    more articles...
    Random
    • Post-War Modernist Cinema and Philosophy

      Cinema’s Ontological Violence: Hamish Ford’s Post-War Modernist Cinema and Philosophy: Confronting Negativity and Time

      Simon Petri
      July 2016
      Book Reviews
      Issue 79
  • CTEQ
    Recent
    • Intimate Interiors: The Long Day Closes (Terence Davies, 1992)

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

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

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

      Simon Petri
      October 2019
      Issue 92
    more articles...
    Random
    • Heaven Can Wait (Ernst Lubitsch, 1943)

      Simon Petri
      January 2016
      Cinémathèque Annotations on Film
      Issue 78
  • Great Directors
    Recent
    • Fei Mu

      Simon Petri
      October 2019
      Issue 92
    • Huston, John

      Simon Petri
      July 2019
      Issue 91
    • Stone, Oliver

      Simon Petri
      July 2019
      Issue 91
    • Klapisch, Cédric

      Simon Petri
      March 2019
      Issue 90
    more articles...
    Random
    • Thornton, Leslie

      Simon Petri
      December 2002
      Great Directors
      Issue 23
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Author Simon Petri

Simon Petri

Living in Vienna, Simon Petri writes his bachelor thesis for the film department of the Eötvös Lóránd University, Budapest about curatorship in a cinematheque. He is currently working on a documentary about Alexander Horwath and the Austrian Filmmuseum.

thumb image

Red Hollywood: An Interview with Thom Andersen

Simon Petri
October 2018
Feature Articles
Issue 88
Cinephile, historian, filmmaker and one of the most knowledgeable persons I’ve ever met, Thom Andersen visited the Austrian Filmmuseum during the fall of 2017 where I interviewed him about Red Hollywood...

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.

 

© Senses of Cinema 2019

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César Albarrán-Torres • Michelle Carey • Daniel Fairfax • Mark Freeman • David Heslin

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