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	<title>Senses of Cinema</title>
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	<link>http://sensesofcinema.com</link>
	<description>Issue 62</description>
	<lastBuildDate>Thu, 26 Apr 2012 03:22:25 +0000</lastBuildDate>
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		<title>Welcome to Issue 62 of our journal</title>
		<link>http://sensesofcinema.com/2012/editorial/welcome-to-issue-62-of-our-journal/</link>
		<comments>http://sensesofcinema.com/2012/editorial/welcome-to-issue-62-of-our-journal/#comments</comments>
		<pubDate>Thu, 19 Apr 2012 11:48:07 +0000</pubDate>
		<dc:creator>the editors</dc:creator>
				<category><![CDATA[Editorial]]></category>
		<category><![CDATA[Issue 62]]></category>
		<category><![CDATA[featured]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=11102</guid>
		<description><![CDATA[Once upon a time in France, long, long before The Artist and all it represents was even a blimp on distant horizons, film culture had an altogether different dimension and orientation. That orientation can be summed up, perhaps too simply, in one phrase: “the politics of film”. And its effects were felt at all levels ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2012/editorial/welcome-to-issue-62-of-our-journal/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>A new look for Senses</title>
		<link>http://sensesofcinema.com/2012/62/a-new-look-for-senses/</link>
		<comments>http://sensesofcinema.com/2012/62/a-new-look-for-senses/#comments</comments>
		<pubDate>Thu, 19 Apr 2012 07:36:15 +0000</pubDate>
		<dc:creator>Rachel Brown</dc:creator>
				<category><![CDATA[Issue 62]]></category>

		<guid isPermaLink="false">http://sensesofcinema.com/?p=11263</guid>
		<description><![CDATA[After a short hiatus, the site is back up &#8211; with a facelift! There is still some fine tuning to do over the coming weeks but for now all of our past articles and the current issue are available. We also have a new and improved search function and &#8216;tag&#8217; cloud. Thanks for your patience!]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2012/62/a-new-look-for-senses/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>“Yes, we were utopians; in a way, I still am&#8230;”: An Interview with Jean-Louis Comolli (Part 1)</title>
		<link>http://sensesofcinema.com/2012/feature-articles/yes-we-were-utopians-in-a-way-i-still-am-an-interview-with-jean-louis-comolli-part-1/</link>
		<comments>http://sensesofcinema.com/2012/feature-articles/yes-we-were-utopians-in-a-way-i-still-am-an-interview-with-jean-louis-comolli-part-1/#comments</comments>
		<pubDate>Tue, 17 Apr 2012 20:12:06 +0000</pubDate>
		<dc:creator>Daniel Fairfax</dc:creator>
				<category><![CDATA[Feature Articles]]></category>
		<category><![CDATA[Issue 62]]></category>
		<category><![CDATA[featured]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=10967</guid>
		<description><![CDATA[In depth interview with one of the seminal figures in the emergence of a Marxist/Althusserian oriented film theory. In this first of a two-part interview, to be published over two issues, Comolli discusses the “Cahiers years” between 1965 and ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2012/feature-articles/yes-we-were-utopians-in-a-way-i-still-am-an-interview-with-jean-louis-comolli-part-1/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>The Artist and the MacMahon Factor</title>
		<link>http://sensesofcinema.com/2012/feature-articles/the-artist-and-the-macmahon-factor/</link>
		<comments>http://sensesofcinema.com/2012/feature-articles/the-artist-and-the-macmahon-factor/#comments</comments>
		<pubDate>Tue, 17 Apr 2012 20:09:59 +0000</pubDate>
		<dc:creator>Zafar Masud</dc:creator>
				<category><![CDATA[Feature Articles]]></category>
		<category><![CDATA[Issue 62]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=10970</guid>
		<description><![CDATA[Looking into France’s international success with <em>The Artist</em>, Zafar Masud discovers the little-known history of a Parisian theatre and the cinéphiles that made its reputation. ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2012/feature-articles/the-artist-and-the-macmahon-factor/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>The Death of Film and the Hollywood Response</title>
		<link>http://sensesofcinema.com/2012/feature-articles/the-death-of-film-and-the-hollywood-response/</link>
		<comments>http://sensesofcinema.com/2012/feature-articles/the-death-of-film-and-the-hollywood-response/#comments</comments>
		<pubDate>Tue, 17 Apr 2012 20:08:51 +0000</pubDate>
		<dc:creator>Andrew Gilbert</dc:creator>
				<category><![CDATA[Feature Articles]]></category>
		<category><![CDATA[Issue 62]]></category>
		<category><![CDATA[featured]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=10924</guid>
		<description><![CDATA[Could all of this year’s major Oscar nominated films be read as allegories of the end of the “celluloid” era? Andrew Gilbert argues that, collectively, their narratives reflect certain anxieties about the post-celluloid age of filmmaking]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2012/feature-articles/the-death-of-film-and-the-hollywood-response/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>The Artist: Mystification Beyond Artistry</title>
		<link>http://sensesofcinema.com/2012/feature-articles/the-artist-mystification-beyond-artistry/</link>
		<comments>http://sensesofcinema.com/2012/feature-articles/the-artist-mystification-beyond-artistry/#comments</comments>
		<pubDate>Tue, 17 Apr 2012 20:07:40 +0000</pubDate>
		<dc:creator>Joseph Natoli</dc:creator>
				<category><![CDATA[Feature Articles]]></category>
		<category><![CDATA[Issue 62]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=10919</guid>
		<description><![CDATA[Joseph Natoli discusses the incongruous presence of a black and white, silent film evoking Hollywood’s “golden age” in an era of hi-tech culture that has displaced all that age represents]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2012/feature-articles/the-artist-mystification-beyond-artistry/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Boy Meets Girl: Architectonics of a Hitchcockian Shot</title>
		<link>http://sensesofcinema.com/2012/feature-articles/boy-meets-girl-architectonics-of-a-hitchcockian-shot/</link>
		<comments>http://sensesofcinema.com/2012/feature-articles/boy-meets-girl-architectonics-of-a-hitchcockian-shot/#comments</comments>
		<pubDate>Tue, 17 Apr 2012 20:06:58 +0000</pubDate>
		<dc:creator>Murray Pomerance</dc:creator>
				<category><![CDATA[Feature Articles]]></category>
		<category><![CDATA[Issue 62]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=10899</guid>
		<description><![CDATA[Boy meets girl…and falls in love. In this case, Cary Grant with Ingrid Bergman in <em>Notorious</em>. Murray Pomerance’s analysis demonstrates how Hitchcock’s astute mise-en-scene makes it happen]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2012/feature-articles/boy-meets-girl-architectonics-of-a-hitchcockian-shot/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>To Experience Song of Ceylon</title>
		<link>http://sensesofcinema.com/2012/feature-articles/to-experience-song-of-ceylon/</link>
		<comments>http://sensesofcinema.com/2012/feature-articles/to-experience-song-of-ceylon/#comments</comments>
		<pubDate>Tue, 17 Apr 2012 20:04:42 +0000</pubDate>
		<dc:creator>Daniella Gitlin</dc:creator>
				<category><![CDATA[Feature Articles]]></category>
		<category><![CDATA[Issue 62]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=10997</guid>
		<description><![CDATA[Insightful analysis of Basil Wright’s 1934 documentary that goes beyond the standard readings of the film in respect to its colonial discourse. ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2012/feature-articles/to-experience-song-of-ceylon/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Sounds from the City in Film Noir</title>
		<link>http://sensesofcinema.com/2012/feature-articles/sounds-from-the-city-in-film-noir/</link>
		<comments>http://sensesofcinema.com/2012/feature-articles/sounds-from-the-city-in-film-noir/#comments</comments>
		<pubDate>Tue, 17 Apr 2012 20:02:45 +0000</pubDate>
		<dc:creator>Eloise Ross</dc:creator>
				<category><![CDATA[Feature Articles]]></category>
		<category><![CDATA[Issue 62]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=10950</guid>
		<description><![CDATA[This article provides a penetrating analysis of the often over looked importance of audio elements and their design in a range of 1950’s film noirs]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2012/feature-articles/sounds-from-the-city-in-film-noir/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Unlikely Heroes: The 31st Sundance Film Festival and the 20th Pan African Film and Arts Festival</title>
		<link>http://sensesofcinema.com/2012/festival-reports/unlikely-heroes-the-31st-sundance-film-festival-and-the-20th-pan-african-film-and-arts-festival/</link>
		<comments>http://sensesofcinema.com/2012/festival-reports/unlikely-heroes-the-31st-sundance-film-festival-and-the-20th-pan-african-film-and-arts-festival/#comments</comments>
		<pubDate>Sun, 18 Mar 2012 07:19:54 +0000</pubDate>
		<dc:creator>Bérénice Reynaud</dc:creator>
				<category><![CDATA[Festival Reports]]></category>
		<category><![CDATA[Issue 62]]></category>
		<category><![CDATA[featured]]></category>
		<category><![CDATA[issue 62]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=10891</guid>
		<description><![CDATA[As many had expected, Benh Zeitlin’s first feature, Beasts of the Southern Wild, won The Grand Jury Prize, as well The Excellence in Cinematography Award (for Ben Richardson’s magic-realist imagery) in the US Dramatic Competition. On stage, six year-old Quvenzhané Wallis was smiling without being coy, kept asserting her desire to speak, and, when asked ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2012/festival-reports/unlikely-heroes-the-31st-sundance-film-festival-and-the-20th-pan-african-film-and-arts-festival/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
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		<title>Raiders of the Lost Archive: the 6th Bangkok Experimental Film Festival</title>
		<link>http://sensesofcinema.com/2012/festival-reports/raiders-of-the-lost-archive-the-6th-bangkok-experimental-film-festival/</link>
		<comments>http://sensesofcinema.com/2012/festival-reports/raiders-of-the-lost-archive-the-6th-bangkok-experimental-film-festival/#comments</comments>
		<pubDate>Sun, 18 Mar 2012 06:55:59 +0000</pubDate>
		<dc:creator>Dirk de Bruyn</dc:creator>
				<category><![CDATA[Festival Reports]]></category>
		<category><![CDATA[Issue 62]]></category>
		<category><![CDATA[issue 62]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=10804</guid>
		<description><![CDATA[The biennial Bangkok Experimental Film Festival had its sixth incarnation from 24 January to 5 February 2012 with a focus on the archive as inspiration for new critical artist films and as invocation to locate lost or forgotten Asian experimental works. The new works program was formed from open call submissions predominantly from across Asia. ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2012/festival-reports/raiders-of-the-lost-archive-the-6th-bangkok-experimental-film-festival/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
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		<title>“The Cinema Leads Me There”: the 41st International Film Festival Rotterdam</title>
		<link>http://sensesofcinema.com/2012/festival-reports/%e2%80%9cthe-cinema-leads-me-there%e2%80%9d-the-41st-international-film-festival-rotterdam/</link>
		<comments>http://sensesofcinema.com/2012/festival-reports/%e2%80%9cthe-cinema-leads-me-there%e2%80%9d-the-41st-international-film-festival-rotterdam/#comments</comments>
		<pubDate>Sun, 18 Mar 2012 06:55:10 +0000</pubDate>
		<dc:creator>Daniel Fairfax</dc:creator>
				<category><![CDATA[Festival Reports]]></category>
		<category><![CDATA[Issue 62]]></category>
		<category><![CDATA[issue 62]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=10789</guid>
		<description><![CDATA[Ugly city, beautiful cinema. It strikes me that the world’s major film festivals are opposed in nature to the cities that host them. Take Berlin. The city is an epicentre of alternative subcultures, artistic avant-gardes and political contestation, and yet its festival is, for the most part, a tame and tepid affair, seemingly focused more ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2012/festival-reports/%e2%80%9cthe-cinema-leads-me-there%e2%80%9d-the-41st-international-film-festival-rotterdam/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
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		<title>Grand Finales: The International Forum of New Cinema at the 62nd Berlin International Film Festival</title>
		<link>http://sensesofcinema.com/2012/festival-reports/grand-finales-the-international-forum-of-new-cinema-at-the-62nd-berlin-international-film-festival/</link>
		<comments>http://sensesofcinema.com/2012/festival-reports/grand-finales-the-international-forum-of-new-cinema-at-the-62nd-berlin-international-film-festival/#comments</comments>
		<pubDate>Sun, 18 Mar 2012 06:53:47 +0000</pubDate>
		<dc:creator>Mattias Frey</dc:creator>
				<category><![CDATA[Festival Reports]]></category>
		<category><![CDATA[Issue 62]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=10873</guid>
		<description><![CDATA[Berlin was particularly icy this February; even discounting the gusts of wind that howled across Potsdamer Platz in the evenings, temperatures dropped below -20 °C. The extreme weather provided an appropriate counterpart to the peculiar political climate, which ran the gamut of the good, bad and ugly: daily news of the booming, record-defying German economy; ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2012/festival-reports/grand-finales-the-international-forum-of-new-cinema-at-the-62nd-berlin-international-film-festival/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
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		<title>Ginette Lavigne’s La belle journée</title>
		<link>http://sensesofcinema.com/2012/feature-articles/ginette-lavignes-la-belle-journee/</link>
		<comments>http://sensesofcinema.com/2012/feature-articles/ginette-lavignes-la-belle-journee/#comments</comments>
		<pubDate>Sun, 18 Mar 2012 06:11:44 +0000</pubDate>
		<dc:creator>Jean-Louis Comolli</dc:creator>
				<category><![CDATA[Feature Articles]]></category>
		<category><![CDATA[Issue 62]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=11136</guid>
		<description><![CDATA[Ginette Lavigne’s film offers a radical alternative to conventional uses of the sound/image dynamic]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2012/feature-articles/ginette-lavignes-la-belle-journee/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
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		<title>Artavazd Pelechian</title>
		<link>http://sensesofcinema.com/2012/great-directors/artavazd-pelechian/</link>
		<comments>http://sensesofcinema.com/2012/great-directors/artavazd-pelechian/#comments</comments>
		<pubDate>Sun, 18 Mar 2012 06:08:35 +0000</pubDate>
		<dc:creator>Daniel Fairfax</dc:creator>
				<category><![CDATA[Great Directors]]></category>
		<category><![CDATA[Issue 62]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=10860</guid>
		<description><![CDATA[b. Feb 22, 1938, Leninakin (now Gyumri), Armenia. 1. In film festivals, cinémathèques, galleries and conferences around the world, the same scene plays itself over and over. Two film-lovers will be engaged in conversation, extolling their favoured films and filmmakers, when one, as casually as possible, with only a slight pause or sudden inflection in ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2012/great-directors/artavazd-pelechian/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
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		<title>Pride and Prejudice: Pauline Kael: A Life in the Dark by Brian Kellow</title>
		<link>http://sensesofcinema.com/2012/book-reviews/pride-and-prejudice-pauline-kael-a-life-in-the-dark-by-brian-kellow/</link>
		<comments>http://sensesofcinema.com/2012/book-reviews/pride-and-prejudice-pauline-kael-a-life-in-the-dark-by-brian-kellow/#comments</comments>
		<pubDate>Sun, 18 Mar 2012 06:07:14 +0000</pubDate>
		<dc:creator>Graham Daseler</dc:creator>
				<category><![CDATA[Book Reviews]]></category>
		<category><![CDATA[Issue 62]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=10823</guid>
		<description><![CDATA[Not long after joining the staff of The New Yorker in 1968, Pauline Kael wrote a review of Butch Cassidy and the Sundance Kid (George Roy Hill, 1969), the popular western starring Paul Newman and Robert Redford. Among other criticisms, she disparaged the script (“the tone becomes embarrassing”), the director (“he doesn’t really seem to ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2012/book-reviews/pride-and-prejudice-pauline-kael-a-life-in-the-dark-by-brian-kellow/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
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		<title>Ernst Lubitsch and Nancy Meyers: A Study on Movie Love in the Classic and Post-Modernist Traditions</title>
		<link>http://sensesofcinema.com/2012/feature-articles/ernst-lubitsch-and-nancy-meyers-a-study-on-movie-love-in-the-classic-and-post-modernist-traditions/</link>
		<comments>http://sensesofcinema.com/2012/feature-articles/ernst-lubitsch-and-nancy-meyers-a-study-on-movie-love-in-the-classic-and-post-modernist-traditions/#comments</comments>
		<pubDate>Sun, 18 Mar 2012 06:05:08 +0000</pubDate>
		<dc:creator>Robert Alpert</dc:creator>
				<category><![CDATA[Feature Articles]]></category>
		<category><![CDATA[Issue 62]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=10933</guid>
		<description><![CDATA[Lubitsch and Meyers? At first glance an unlikely couple, yet Robert Alpert traces the convolutions of movie love across differing eras to reveal its continuities and fault lines. ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2012/feature-articles/ernst-lubitsch-and-nancy-meyers-a-study-on-movie-love-in-the-classic-and-post-modernist-traditions/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
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		<title>Wild/Lives: Trickster, Place and Liminality on Screen by Terrie Waddell</title>
		<link>http://sensesofcinema.com/2012/book-reviews/wildlives-trickster-place-and-liminality-on-screen-by-terrie-waddell-2/</link>
		<comments>http://sensesofcinema.com/2012/book-reviews/wildlives-trickster-place-and-liminality-on-screen-by-terrie-waddell-2/#comments</comments>
		<pubDate>Sun, 18 Mar 2012 06:04:34 +0000</pubDate>
		<dc:creator>Susan Rowland</dc:creator>
				<category><![CDATA[Book Reviews]]></category>
		<category><![CDATA[Issue 62]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=11040</guid>
		<description><![CDATA[In the late 19th century, film as a technology, art form and social phenomenon and psychoanalysis as theoretical and practical working with untamed parts of the psyche thus labeled “the unconscious”, coincided. Both were allied to dreams as the presentation of sometimes enigmatic, frequently enchanting, visual stimuli. So it is not surprising that psychoanalysis was ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2012/book-reviews/wildlives-trickster-place-and-liminality-on-screen-by-terrie-waddell-2/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
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		<title>All Visual and No Sound Would Make Jack a Dull Boy</title>
		<link>http://sensesofcinema.com/2012/feature-articles/all-visual-and-no-sound-would-make-jack-a-dull-boy/</link>
		<comments>http://sensesofcinema.com/2012/feature-articles/all-visual-and-no-sound-would-make-jack-a-dull-boy/#comments</comments>
		<pubDate>Sun, 18 Mar 2012 06:01:43 +0000</pubDate>
		<dc:creator>Gabrielle Ringuet</dc:creator>
				<category><![CDATA[Feature Articles]]></category>
		<category><![CDATA[Issue 62]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=10982</guid>
		<description><![CDATA[Focusing on a key scene from Kubrick’s <em>The Shining</em>, Gabrielle Ringuet discusses how the actors’ vocal performances and the scene’s sound design contribute to its effectiveness]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2012/feature-articles/all-visual-and-no-sound-would-make-jack-a-dull-boy/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
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		<title>“People are waiting”: Elia Kazan and America America</title>
		<link>http://sensesofcinema.com/2012/cteq/%e2%80%9cpeople-are-waiting%e2%80%9d-elia-kazan-and-america-america/</link>
		<comments>http://sensesofcinema.com/2012/cteq/%e2%80%9cpeople-are-waiting%e2%80%9d-elia-kazan-and-america-america/#comments</comments>
		<pubDate>Sun, 18 Mar 2012 06:00:37 +0000</pubDate>
		<dc:creator>Adrian Danks</dc:creator>
				<category><![CDATA[Cinémathèque Annotations on Film]]></category>
		<category><![CDATA[Issue 62]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=10721</guid>
		<description><![CDATA[Martin Scorsese concludes his A Personal Journey… Through American Movies (co-directed and co-written by Michael Henry Wilson, 1995) with a brief passage from Elia Kazan’s America America (1963). This epic, physical, elemental, almost monomaniacal film is an important touchstone for Scorsese, a talisman of the passage from and between the old world of Classical Hollywood ]]></description>
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		<slash:comments>0</slash:comments>
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