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

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

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

      Tope Ogundare
      October 2019
      Issue 92
    • Woody Allen: Television as Crisis

      Tope Ogundare
      October 2019
      Issue 92
    more articles...
    Random
    • Bodies in Filmic Space: The Mise en Scène of ‘Courtship Readiness’ in The Big Sleep

      Tope Ogundare
      March 2013
      Feature Articles
      Issue 66
  • Festival Reports
    Recent
    • Of liberation, and of states of undress and redress both: The 54th Karlovy Vary International Film Festival

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

      Tope Ogundare
      October 2019
      Issue 92
    • 22nd Revelation Perth Film Festival

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

      Tope Ogundare
      October 2019
      Issue 92
    more articles...
    Random
    • Textures of Memory, Images in Flux: The 2012 Melbourne International Film Festival

      Tope Ogundare
      September 2012
      Festival Reports
      Issue 64
  • Book Reviews
    Recent
    • This Is Not Another Reading of a Master: The Invention of Robert Bresson: the Auteur and his Market, by Colin Burnett

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

      Tope Ogundare
      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

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

      Tope Ogundare
      July 2019
      Issue 91
    more articles...
    Random
    • Book Reviews

      Tope Ogundare
      July 2012
      Book Reviews
      Issue 63
  • CTEQ
    Recent
    • Intimate Interiors: The Long Day Closes (Terence Davies, 1992)

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

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

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

      Tope Ogundare
      October 2019
      Issue 92
    more articles...
    Random
    • Sabata

      Sabata (Gianfranco Parolini, 1969): The Best of the Bad

      Tope Ogundare
      June 2018
      Cinémathèque Annotations on Film
      Issue 87
  • Great Directors
    Recent
    • Fei Mu

      Tope Ogundare
      October 2019
      Issue 92
    • Huston, John

      Tope Ogundare
      July 2019
      Issue 91
    • Stone, Oliver

      Tope Ogundare
      July 2019
      Issue 91
    • Klapisch, Cédric

      Tope Ogundare
      March 2019
      Issue 90
    more articles...
    Random
    • Coppola, Sofia

      Tope Ogundare
      November 2007
      Great Directors
      Issue 45
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Author Tope Ogundare

Tope Ogundare

Tope Ogundare is a film enthusiast, writer and video essayist with a medical background. His writing has been published in The Sydney Morning Herald and 4:3, and his video work has been published on Fandor and MUBI, and screened at Filmadrid Festival Internacional de Cine and International Film Festival Rotterdam.

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Casually Radical: Three Films by Jacques Rozier

Tope Ogundare
October 2018
The Second Generation: French Cinema After the New Wave
Issue 88
There it is, on this year’s Venice Classics lineup: Adieu Philippine (1962), Jacques Rozier’s loose-limbed debut about a young TV technician’s dalliance with a pair of Parisian girlfriends as he awaits...
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The Last Laugh (F.W. Murnau, 1924)

Tope Ogundare
June 2018
Cinémathèque Annotations on Film
Issue 87
The porter of the Atlantic Hotel is not a rich man, nor is he one of any cashable power or privilege. But when he dons his oddly warlike uniform, he is a dead ringer for Emperor Wilhelm I (surely no mere...

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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