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  • Features
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    • The Sense of Feminism Then and Now: Yours in Sisterhood (2018) and Embodied Listening in the Cinema Praxis of Irene Lusztig

      Victor Galstyan
      December 2018
      Issue 89
    • Audience and Performance in Kid Auto Races at Venice

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

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

      Victor Galstyan
      December 2018
      Issue 89
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    • Alain Robbe-Grillet:Teasing the Real

      Victor Galstyan
      October 2014
      Feature Articles
      Issue 72
  • Festival Reports
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    • #Youmustsee: The 2018 Adelaide International Film Festival

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

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

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

      Victor Galstyan
      December 2018
      Issue 89
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    • After and Without Film, But With Presence: The 60th International Film Festival Oberhausen

      Victor Galstyan
      June 2014
      Festival Reports
      Issue 71
  • Book Reviews
    Recent
    • Beyond Thumbs Up or Down: Aesthetic Evaluation and Film, by Andrew Klevan

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

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

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

      Victor Galstyan
      December 2018
      Issue 89
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    Random
    • Towards a Single Cinephilia: On An Invention Without a Future: Essays on Cinema by James Naremore

      Victor Galstyan
      September 2014
      Book Reviews
      Issue 72
  • CTEQ
    Recent
    • See, Hear, and Speak of Evil: Three Monkeys (Nuri Bilge Ceylan, 2008)

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

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

      Victor Galstyan
      October 2018
      Issue 88
    • Hail (Amiel Courtin-Wilson, 2011)

      Victor Galstyan
      October 2018
      Issue 88
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    • A Woman Under the Influence

      Victor Galstyan
      March 2011
      Cinémathèque Annotations on Film
      Issue 58
  • Great Directors
    Recent
    • Takahata, Isao

      Victor Galstyan
      December 2018
      Issue 89
    • Dovzhenko, Alexander

      Victor Galstyan
      December 2018
      Issue 89
    • Weerasethakul, Apichatpong

      Victor Galstyan
      October 2018
      Issue 88
    • Oliveira, Manoel de

      Victor Galstyan
      October 2018
      Issue 88
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    Random
    • Melville, Jean-Pierre

      Victor Galstyan
      October 2002
      Great Directors
      Issue 22
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Author Victor Galstyan

Victor Galstyan

Victor Galstyan is a filmmaker, writer, artist, graduate of the Communications Faculty at University of Technology, Sydney, and author of eight short films. He is currently making a documentary on the Armenian photographer Jack Majarian, as well as writing a critical biography on Andrzej Zulawski.

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Possession: DVD Review

Victor Galstyan
April 2005
DVD Reviews
Issue 35
The singular vision of polish director Andrzej Zulawski's 1981 film is examined, and found to be as powerful as ever.

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.

 

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