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

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

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

      James Slaymaker
      October 2019
      Issue 92
    • Woody Allen: Television as Crisis

      Alex Munt
      October 2019
      Issue 92
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    • La Jetée film analysis

      Surprised by La Jetée

      Ned Schantz
      September 2015
      Feature Articles
      Issue 76
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    • Of liberation, and of states of undress and redress both: The 54th Karlovy Vary International Film Festival

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

      Leonardo Goi
      October 2019
      Issue 92
    • 22nd Revelation Perth Film Festival

      David Morgan-Brown
      October 2019
      Issue 92
    • Sharing My Journey: Women and the 2019 Toronto International Film Festival

      Alexandra Heller-Nicholas
      October 2019
      Issue 92
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    • Five Metaphors for a Film Festival: The 56th Sydney Film Festival

      Matthew Clayfield
      December 2009
      Festival Reports
      Issue 53
  • Book Reviews
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    • This Is Not Another Reading of a Master: The Invention of Robert Bresson: the Auteur and his Market, by Colin Burnett

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

      Bruce Hodsdon
      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

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

      Daniel Fairfax
      July 2019
      Issue 91
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    • The Semiotics of Wes Anderson: Wes Anderson’s Symbolic Storyworld: A Semiotic Analysis, by Warren Buckland

      Francesco Sticchi
      December 2018
      Book Reviews
      Issue 89
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    Recent
    • Intimate Interiors: The Long Day Closes (Terence Davies, 1992)

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

      Danica van de Velde
      October 2019
      Issue 92
    • Autoluminescent: Rowland S. Howard (Lynn-Maree Milburn & Richard Lowenstein, 2011)

      Darragh O’Donoghue
      October 2019
      Issue 92
    • Hear That Lonesome Whippoorwill: Terence Davies’ The Neon Bible (1995)

      Adrian Danks
      October 2019
      Issue 92
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    • History Lessons

      History Lessons (Jean-Marie Straub and Danièle Huillet, 1972)

      Luke Aspell
      September 2017
      Cinémathèque Annotations on Film
      Issue 84
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    • Fei Mu

      Jasper Mäkinen
      October 2019
      Issue 92
    • Huston, John

      Bruce Jackson
      July 2019
      Issue 91
    • Stone, Oliver

      Jeremy Carr
      July 2019
      Issue 91
    • Klapisch, Cédric

      Ben McCann
      March 2019
      Issue 90
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    • Siodmak, Robert

      Chris Justice
      December 2003
      Great Directors
      Issue 29
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Australian Filmmakers

Home
Australian Filmmakers
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An Interview with Ken Sallows

Shan Jayaweera
June 2001
Australian Filmmakers
Issue 14
One of Australia's pre-eminent editors speaks candidly.
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Sensitive New Age Killer: The Heaven and The Hell

Mark Savage
June 2001
Australian Filmmakers
Issue 14
Savage on the traumas of filmmaking.

Read the Senses of Cinema World Poll 2018

INTRODUCTION

PART 1

PART 2

PART 3

PART 4

PART 5

PART 6

PART 7

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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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