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	<title>Senses of Cinema</title>
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	<link>http://sensesofcinema.com</link>
	<description>Issue 62</description>
	<lastBuildDate>Tue, 21 May 2013 02:18:09 +0000</lastBuildDate>
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		<title>Welcome to Issue 66 of our journal</title>
		<link>http://sensesofcinema.com/2013/editorial/welcome-to-issue-66-of-our-journal/</link>
		<comments>http://sensesofcinema.com/2013/editorial/welcome-to-issue-66-of-our-journal/#comments</comments>
		<pubDate>Sun, 17 Mar 2013 07:00:42 +0000</pubDate>
		<dc:creator>the editors</dc:creator>
				<category><![CDATA[Editorial]]></category>
		<category><![CDATA[Issue 66 | March 2013]]></category>
		<category><![CDATA[featured]]></category>

		<guid isPermaLink="false">http://sensesofcinema.com/?p=16406</guid>
		<description><![CDATA[This issue of Senses is dedicated to the memory of Nicola White (1964-2013). Nicola – or “Nicki” as she was affectionately known to friends and colleagues – joined Senses in 2010 in the role of Manager of the journal, a position she fulfilled with great professionalism and integrity over the course of the few years ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2013/editorial/welcome-to-issue-66-of-our-journal/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Features</title>
		<link>http://sensesofcinema.com/2013/feature-articles/features-4/</link>
		<comments>http://sensesofcinema.com/2013/feature-articles/features-4/#comments</comments>
		<pubDate>Sun, 17 Mar 2013 05:58:33 +0000</pubDate>
		<dc:creator>the editors</dc:creator>
				<category><![CDATA[Feature Articles]]></category>
		<category><![CDATA[Issue 66 | March 2013]]></category>

		<guid isPermaLink="false">http://sensesofcinema.com/?p=16390</guid>
		<description><![CDATA[Contents To the Viewer: On Nicholas Ray’s We Can’t Go Home Again by Susan Ray Sirk, Hollywood and Genre by Tom Ryan Bodies in Filmic Space: The Mise en Scène of ‘Courtship Readiness’ in The Big Sleep by Warren Buckland Notes on Sans Soleil by Murray Pomerance Thank God We Don&#8217;t Have a Pope: Habemus Papam, ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2013/feature-articles/features-4/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>From Ubu Roi to My Generation: A Tribute to Albie Thoms</title>
		<link>http://sensesofcinema.com/2013/66/from-ubu-roi-to-my-generation-a-tribute-to-albie-thoms/</link>
		<comments>http://sensesofcinema.com/2013/66/from-ubu-roi-to-my-generation-a-tribute-to-albie-thoms/#comments</comments>
		<pubDate>Sun, 17 Mar 2013 05:23:56 +0000</pubDate>
		<dc:creator>Adrian Danks</dc:creator>
				<category><![CDATA[Albie Thoms Dossier]]></category>
		<category><![CDATA[Issue 66 | March 2013]]></category>
		<category><![CDATA[Albie Thoms]]></category>
		<category><![CDATA[Australian cinema]]></category>

		<guid isPermaLink="false">http://sensesofcinema.com/?p=16099</guid>
		<description><![CDATA[Albie Thoms (1941-2012) was one of the most significant figures of Australian postwar film culture. In a peripatetic career that stretched from his adventurous work with the Sydney University Drama Society in the early 1960s to the publication of his expansive and affectionately detailed memoir of that decade, My Generation, in the weeks after his ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2013/66/from-ubu-roi-to-my-generation-a-tribute-to-albie-thoms/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Cinémathèque Annotations on Film</title>
		<link>http://sensesofcinema.com/2013/cteq/cinematheque-annotations-on-film-4/</link>
		<comments>http://sensesofcinema.com/2013/cteq/cinematheque-annotations-on-film-4/#comments</comments>
		<pubDate>Sun, 17 Mar 2013 04:40:12 +0000</pubDate>
		<dc:creator>the editors</dc:creator>
				<category><![CDATA[Cinémathèque Annotations on Film]]></category>
		<category><![CDATA[Issue 66 | March 2013]]></category>

		<guid isPermaLink="false">http://sensesofcinema.com/?p=16371</guid>
		<description><![CDATA[Contents Darragh O’Donoghue on Ballad of Narayama  Brian Darr on Carmen Comes Home  Gregory Dolgopolov on Khrustalyov, My Car!  Tara Judah on Comrades  Hamish Ford on Two or Three Things I Know About Her  Christopher Weedman on Notre musique  Lee Hill on Prénom Carmen  David Melville on Carmen Jones  Rachel Brown on The Man With ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2013/cteq/cinematheque-annotations-on-film-4/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Book Reviews</title>
		<link>http://sensesofcinema.com/2013/book-reviews/book-reviews-5/</link>
		<comments>http://sensesofcinema.com/2013/book-reviews/book-reviews-5/#comments</comments>
		<pubDate>Sun, 17 Mar 2013 02:46:43 +0000</pubDate>
		<dc:creator>the editors</dc:creator>
				<category><![CDATA[Book Reviews]]></category>
		<category><![CDATA[Issue 66 | March 2013]]></category>

		<guid isPermaLink="false">http://sensesofcinema.com/?p=16525</guid>
		<description><![CDATA[Contents  Dimitrios Latsis on Film, Art, New Media: Museum without Walls? Kath Dooley on The Beauty of the Real: What Hollywood Can Learn From Contemporary French Actresses Daniele Rugo on To Sign One’s Life (With Cinema) Federico Passi on Giorgio Mangiamele Nick Herd on Local Hollywood: Global Film Production and the Gold Coast Lia McCrae-Moore on Jedda ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2013/book-reviews/book-reviews-5/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Festival Reports</title>
		<link>http://sensesofcinema.com/2013/festival-reports/festival-reports-4/</link>
		<comments>http://sensesofcinema.com/2013/festival-reports/festival-reports-4/#comments</comments>
		<pubDate>Sun, 17 Mar 2013 02:44:44 +0000</pubDate>
		<dc:creator>the editors</dc:creator>
				<category><![CDATA[Festival Reports]]></category>
		<category><![CDATA[Issue 66 | March 2013]]></category>

		<guid isPermaLink="false">http://sensesofcinema.com/?p=16331</guid>
		<description><![CDATA[Contents Matthew Flanagan on BFI London’s Experimenta Weekend  Bérénice Reynaud  on AFI FEST &#38; American Film Market (AFM) Dirk de Bruyn on the Alternative Film/Video Festival Bérénice Reynaud  on Sundance and PAFF Marc Saint-Cyr on Rotterdam   Lisa Franek on Art House Convergence Daniel Fairfax on Berlin  Gemma King on Festival du film fantastique and Festival des ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2013/festival-reports/festival-reports-4/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Cecil B. DeMille</title>
		<link>http://sensesofcinema.com/2013/great-directors/cecil-b-demille/</link>
		<comments>http://sensesofcinema.com/2013/great-directors/cecil-b-demille/#comments</comments>
		<pubDate>Sun, 17 Mar 2013 02:42:47 +0000</pubDate>
		<dc:creator>Anton Karl Kozlovic</dc:creator>
				<category><![CDATA[Great Directors]]></category>
		<category><![CDATA[Issue 66 | March 2013]]></category>
		<category><![CDATA[Cecil B. DeMille]]></category>
		<category><![CDATA[featured]]></category>

		<guid isPermaLink="false">http://sensesofcinema.com/?p=16218</guid>
		<description><![CDATA[b. Cecil Blount deMille, 12th August 1881, Ashfield, Massachusetts, USA d. 21st January 1959, Hollywood, California, USA 1. The Enigmatic Pop Culture Professional Legendary producer-director Cecil B. DeMille, (1) affectionately known as C.B., was a seminal cofounder of Hollywood and a progenitor of Paramount studio who became a mega-star of the American cinema during its ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2013/great-directors/cecil-b-demille/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>To the Viewer: On Nicholas Ray’s We Can’t Go Home Again</title>
		<link>http://sensesofcinema.com/2013/feature-articles/to-the-viewer-on-nicholas-rays-we-cant-go-home-again/</link>
		<comments>http://sensesofcinema.com/2013/feature-articles/to-the-viewer-on-nicholas-rays-we-cant-go-home-again/#comments</comments>
		<pubDate>Sun, 17 Mar 2013 01:57:48 +0000</pubDate>
		<dc:creator>Susan Ray</dc:creator>
				<category><![CDATA[Feature Articles]]></category>
		<category><![CDATA[Issue 66 | March 2013]]></category>
		<category><![CDATA[Nicholas Ray]]></category>
		<category><![CDATA[We Can’t Go Home Again]]></category>

		<guid isPermaLink="false">http://sensesofcinema.com/?p=16210</guid>
		<description><![CDATA[It’s taken almost four decades to bring you Nick’s last full-length film We Can’t Go Home Again, and not for lack of trying. Why so long? We couldn’t find the funds. We didn’t need much compared to what most movies cost, but we needed more than we could figure out how to raise. No doubt there’s ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2013/feature-articles/to-the-viewer-on-nicholas-rays-we-cant-go-home-again/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>In Dreams and Imagination: Surrealist Values in Mulholland Dr. and Inland Empire</title>
		<link>http://sensesofcinema.com/2013/feature-articles/in-dreams-and-imagination-surrealist-values-in-mulholland-dr-and-inland-empire/</link>
		<comments>http://sensesofcinema.com/2013/feature-articles/in-dreams-and-imagination-surrealist-values-in-mulholland-dr-and-inland-empire/#comments</comments>
		<pubDate>Sun, 17 Mar 2013 01:06:42 +0000</pubDate>
		<dc:creator>Michael Pattison</dc:creator>
				<category><![CDATA[Feature Articles]]></category>
		<category><![CDATA[Issue 66 | March 2013]]></category>
		<category><![CDATA[David Lynch]]></category>
		<category><![CDATA[featured]]></category>
		<category><![CDATA[Inland Empire]]></category>
		<category><![CDATA[Mulholland Dr.]]></category>

		<guid isPermaLink="false">http://sensesofcinema.com/?p=16183</guid>
		<description><![CDATA[Given that Surrealism is commonly cited as one of many artistic influences on David Lynch, attempts to view his films within this framework are surprisingly infrequent. Popularising materials tend to limit themselves to casual references, while scholarship inclines more towards psychoanalytical or postmodernist perspectives. (1) Though there are Surrealist elements at work in all of ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2013/feature-articles/in-dreams-and-imagination-surrealist-values-in-mulholland-dr-and-inland-empire/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Notes on Sans Soleil</title>
		<link>http://sensesofcinema.com/2013/feature-articles/notes-on-sans-soleil/</link>
		<comments>http://sensesofcinema.com/2013/feature-articles/notes-on-sans-soleil/#comments</comments>
		<pubDate>Sun, 17 Mar 2013 01:02:44 +0000</pubDate>
		<dc:creator>Murray Pomerance</dc:creator>
				<category><![CDATA[Feature Articles]]></category>
		<category><![CDATA[Issue 66 | March 2013]]></category>
		<category><![CDATA[Chris Marker]]></category>
		<category><![CDATA[Sans Soleil]]></category>

		<guid isPermaLink="false">http://sensesofcinema.com/?p=16189</guid>
		<description><![CDATA[1 “I’ve been around the world several times, and now only banality still interests me.”  At the beginning of Chris Marker’s Sans soleil (1983), a voice tells us, “He wrote” this. “He”:  Marker?  We have no reason to think so.  But “he” had been around the world several times.  “He” had made other comments to ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2013/feature-articles/notes-on-sans-soleil/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Umwelt and the Paradoxes of Landscape in Lupu Pick&#8217;s Sylvester and Pier Paolo Pasolini&#8217;s Teorema</title>
		<link>http://sensesofcinema.com/2013/feature-articles/umwelt-landscape-and-lupu-picks-sylvester/</link>
		<comments>http://sensesofcinema.com/2013/feature-articles/umwelt-landscape-and-lupu-picks-sylvester/#comments</comments>
		<pubDate>Sun, 17 Mar 2013 00:58:34 +0000</pubDate>
		<dc:creator>Tyson Wils</dc:creator>
				<category><![CDATA[Feature Articles]]></category>
		<category><![CDATA[Issue 66 | March 2013]]></category>
		<category><![CDATA[landscapes]]></category>
		<category><![CDATA[Lupu Pick]]></category>
		<category><![CDATA[Sylvester]]></category>

		<guid isPermaLink="false">http://sensesofcinema.com/?p=16205</guid>
		<description><![CDATA[Introduction Writing in 1996, Matthew Gandy pointed out that landscape was an underrepresented area in cinema studies. (1) By 2012, it can be said that this situation has altered somewhat. For example, since the mid-2000s a number of books have been published on the topic. These include Landscape and Film (2006), Landscape Allegory in Cinema: ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2013/feature-articles/umwelt-landscape-and-lupu-picks-sylvester/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Poetry in the Air: Mad Bastards and Toomelah</title>
		<link>http://sensesofcinema.com/2013/feature-articles/poetry-in-the-air-mad-bastards-and-toomelah/</link>
		<comments>http://sensesofcinema.com/2013/feature-articles/poetry-in-the-air-mad-bastards-and-toomelah/#comments</comments>
		<pubDate>Sun, 17 Mar 2013 00:52:13 +0000</pubDate>
		<dc:creator>Lorraine Mortimer</dc:creator>
				<category><![CDATA[Feature Articles]]></category>
		<category><![CDATA[Issue 66 | March 2013]]></category>
		<category><![CDATA[Australian cinema]]></category>
		<category><![CDATA[Brendan Fletcher]]></category>
		<category><![CDATA[featured]]></category>
		<category><![CDATA[Ivan Sen]]></category>
		<category><![CDATA[Mad Bastards]]></category>
		<category><![CDATA[Toomelah]]></category>

		<guid isPermaLink="false">http://sensesofcinema.com/?p=16231</guid>
		<description><![CDATA[I. Where the Crocodiles Are: Mad Bastards I am really proud of this movie most of all because it does justice to the tough men of The Kimberley who have transformed their lives by tempering their wildness, and channelling their strength into their kids, their families, their communities. I find that very real and inspiring. ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2013/feature-articles/poetry-in-the-air-mad-bastards-and-toomelah/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>The Angels’ Share: Ken Loach and Paul Laverty Lift Scotland’s Kilts to Expose Its Darker Parts</title>
		<link>http://sensesofcinema.com/2013/feature-articles/the-angels-share-ken-loach-and-paul-laverty-lift-scotlands-kilts-to-expose-its-darker-parts/</link>
		<comments>http://sensesofcinema.com/2013/feature-articles/the-angels-share-ken-loach-and-paul-laverty-lift-scotlands-kilts-to-expose-its-darker-parts/#comments</comments>
		<pubDate>Sun, 17 Mar 2013 00:47:18 +0000</pubDate>
		<dc:creator>David Martin-Jones</dc:creator>
				<category><![CDATA[Feature Articles]]></category>
		<category><![CDATA[Issue 66 | March 2013]]></category>
		<category><![CDATA[Ken Loach]]></category>
		<category><![CDATA[Paul Laverty]]></category>
		<category><![CDATA[The Angels’ Share]]></category>

		<guid isPermaLink="false">http://sensesofcinema.com/?p=16244</guid>
		<description><![CDATA[The Angels’ Share (2012) is a Cannes Jury Prize winning film. Given this accolade it seems a little surprising that the film’s central focus is whisky. Whisky and young Scots in kilts, to be precise. Yet more surprises are in store. This Ken Loach film, with screenplay by regular collaborator Paul Laverty, is far from ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2013/feature-articles/the-angels-share-ken-loach-and-paul-laverty-lift-scotlands-kilts-to-expose-its-darker-parts/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Thank God We Don&#8217;t Have a Pope: Habemus Papam, Moretti&#8217;s Apocalypse</title>
		<link>http://sensesofcinema.com/2013/feature-articles/thank-god-we-dont-have-a-pope-habemus-papam-morettis-apocalypse/</link>
		<comments>http://sensesofcinema.com/2013/feature-articles/thank-god-we-dont-have-a-pope-habemus-papam-morettis-apocalypse/#comments</comments>
		<pubDate>Sun, 17 Mar 2013 00:45:59 +0000</pubDate>
		<dc:creator>Marko Bauer</dc:creator>
				<category><![CDATA[Feature Articles]]></category>
		<category><![CDATA[Issue 66 | March 2013]]></category>
		<category><![CDATA[Habemus Papam]]></category>
		<category><![CDATA[Nanni Moretti]]></category>
		<category><![CDATA[We Have a Pope]]></category>

		<guid isPermaLink="false">http://sensesofcinema.com/?p=16251</guid>
		<description><![CDATA[“As nihilism becomes more and more the norm, the symbols of emptiness spread much more terror than those of power do.” – Ernst Jünger One nearly misses Habemus Papam (We Have a Pope, 2011) for the reason absent from it. Although the film is the very antithesis of The King&#8217;s Speech (Tom Hooper, 2010), which ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2013/feature-articles/thank-god-we-dont-have-a-pope-habemus-papam-morettis-apocalypse/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
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		<item>
		<title>It All Flows Back: Treed Murray and the Limits of Urban Community</title>
		<link>http://sensesofcinema.com/2013/feature-articles/it-all-flows-back-treed-murray-and-the-limits-of-urban-community/</link>
		<comments>http://sensesofcinema.com/2013/feature-articles/it-all-flows-back-treed-murray-and-the-limits-of-urban-community/#comments</comments>
		<pubDate>Sun, 17 Mar 2013 00:44:27 +0000</pubDate>
		<dc:creator>Zachary Abram</dc:creator>
				<category><![CDATA[Feature Articles]]></category>
		<category><![CDATA[Issue 66 | March 2013]]></category>
		<category><![CDATA[Canadian film]]></category>
		<category><![CDATA[Treed Murray]]></category>
		<category><![CDATA[William Phillips]]></category>

		<guid isPermaLink="false">http://sensesofcinema.com/?p=16256</guid>
		<description><![CDATA[In the Canadian Oscar winning animated short Ryan (Chris Landreth, 2004), the narrator laments “I live in Toronto, a city in Canada, where I see too many shades of grey for my own good health.” The narrator means that quite literally. He is referring to Toronto’s predominately grey skyline. William Phillips’s little seen, little loved ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2013/feature-articles/it-all-flows-back-treed-murray-and-the-limits-of-urban-community/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Bodies in Filmic Space: The Mise en Scène of ‘Courtship Readiness’ in The Big Sleep</title>
		<link>http://sensesofcinema.com/2013/feature-articles/bodies-in-filmic-space-the-mise-en-scene-of-courtship-readiness-in-the-big-sleep/</link>
		<comments>http://sensesofcinema.com/2013/feature-articles/bodies-in-filmic-space-the-mise-en-scene-of-courtship-readiness-in-the-big-sleep/#comments</comments>
		<pubDate>Sun, 17 Mar 2013 00:42:17 +0000</pubDate>
		<dc:creator>Warren Buckland</dc:creator>
				<category><![CDATA[Feature Articles]]></category>
		<category><![CDATA[Issue 66 | March 2013]]></category>
		<category><![CDATA[Howard Hawks]]></category>
		<category><![CDATA[Humphrey Bogart]]></category>
		<category><![CDATA[Lauren Bacall]]></category>
		<category><![CDATA[The Big Sleep]]></category>

		<guid isPermaLink="false">http://sensesofcinema.com/?p=16267</guid>
		<description><![CDATA[Adrian Martin reminds us that mise en scène is ‘the art of bodies in space’. (1) The human body, particularly in motion, generates a complex series of culture-bound meanings: gestures, postures, orientation, touch, and facial expressions comprise a sophisticated array of patterned behaviour. Similarly with space, which appears to be an unbroken continuum, but is ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2013/feature-articles/bodies-in-filmic-space-the-mise-en-scene-of-courtship-readiness-in-the-big-sleep/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Why Albie Thoms? – A Singular Commitment and a Figure Displaced</title>
		<link>http://sensesofcinema.com/2013/66/why-albie-thoms-a-singular-commitment-and-a-figure-displaced/</link>
		<comments>http://sensesofcinema.com/2013/66/why-albie-thoms-a-singular-commitment-and-a-figure-displaced/#comments</comments>
		<pubDate>Sat, 16 Mar 2013 13:37:48 +0000</pubDate>
		<dc:creator>Barrett Hodsdon</dc:creator>
				<category><![CDATA[Albie Thoms Dossier]]></category>
		<category><![CDATA[Issue 66 | March 2013]]></category>
		<category><![CDATA[Albie Thoms]]></category>
		<category><![CDATA[Australian cinema]]></category>

		<guid isPermaLink="false">http://sensesofcinema.com/?p=16041</guid>
		<description><![CDATA[The Memorial Event – Thoms’ Resurrection On 17 December 2012, a large group of people came together in Paddington Town Hall to celebrate Albie Thoms’ life, and to launch his book, a memoir called My Generation, completed just before his death. Of the hundreds of people who attended, many were associates and friends from the ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2013/66/why-albie-thoms-a-singular-commitment-and-a-figure-displaced/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
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		<title>The Ubu Moment and Australian Experimental Film: Interviews with Albie Thoms</title>
		<link>http://sensesofcinema.com/2013/66/the-ubu-moment-and-australian-experimental-film-interviews-with-albie-thoms/</link>
		<comments>http://sensesofcinema.com/2013/66/the-ubu-moment-and-australian-experimental-film-interviews-with-albie-thoms/#comments</comments>
		<pubDate>Sat, 16 Mar 2013 13:35:45 +0000</pubDate>
		<dc:creator>Otherfilm</dc:creator>
				<category><![CDATA[Albie Thoms Dossier]]></category>
		<category><![CDATA[Issue 66 | March 2013]]></category>
		<category><![CDATA[Albie Thoms]]></category>
		<category><![CDATA[Australian cinema]]></category>

		<guid isPermaLink="false">http://sensesofcinema.com/?p=16048</guid>
		<description><![CDATA[By Danni Zuvela for OtherFilm Albie Thoms (1941-2012) led a remarkable life. Perhaps most well-known as a filmmaker and founder of the pioneering avant-garde film organisation Ubu Films (1965-1970), Thoms was also – in order of activity – a theatre director, television producer, organisation-builder, anti-censorship campaigner and general antagonist of the conservative status quo; a ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2013/66/the-ubu-moment-and-australian-experimental-film-interviews-with-albie-thoms/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Albie Thoms Refractions</title>
		<link>http://sensesofcinema.com/2013/66/albie-thoms-refractions/</link>
		<comments>http://sensesofcinema.com/2013/66/albie-thoms-refractions/#comments</comments>
		<pubDate>Sat, 16 Mar 2013 13:31:55 +0000</pubDate>
		<dc:creator>Otherfilm</dc:creator>
				<category><![CDATA[Albie Thoms Dossier]]></category>
		<category><![CDATA[Issue 66 | March 2013]]></category>
		<category><![CDATA[Albie Thoms]]></category>
		<category><![CDATA[Australian cinema]]></category>

		<guid isPermaLink="false">http://sensesofcinema.com/?p=16055</guid>
		<description><![CDATA[By Danni Zuvela for OtherFilm The scene is a screen, but split into three. A line, radiating from centre frame, separates the left trident (tinted green) from the top trident (magenta) and the right (violet). Each segment bristles with movement – crowds, cars and cranes – the pulse of the city. The tinted hubbub tumbles, ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2013/66/albie-thoms-refractions/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Albie – A Well-Directed Life</title>
		<link>http://sensesofcinema.com/2013/66/albie-a-well-directed-life/</link>
		<comments>http://sensesofcinema.com/2013/66/albie-a-well-directed-life/#comments</comments>
		<pubDate>Sat, 16 Mar 2013 13:30:58 +0000</pubDate>
		<dc:creator>Tina Kaufman</dc:creator>
				<category><![CDATA[Albie Thoms Dossier]]></category>
		<category><![CDATA[Issue 66 | March 2013]]></category>
		<category><![CDATA[Albie Thoms]]></category>
		<category><![CDATA[Australian cinema]]></category>

		<guid isPermaLink="false">http://sensesofcinema.com/?p=16092</guid>
		<description><![CDATA[One of the last things Albie Thoms did before he died late last year was organise a launch party for the book he was rushing to finish and see published. It was to be a big event, at Paddington Town Hall, which had seen many of the concerts and light shows Albie and others had ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2013/66/albie-a-well-directed-life/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
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