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Issue 32

Letters

from Robert Daudelin, Bernard Eisenschitz, Paul Byrnes, Samuel Macgeorge, and James Leahy Responses to articles, and comments on any aspect of Senses of Cinema, should

Welcome to Issue 32 of our journal!

Marvelling at a scene in The Dreamers in which an auditorium of students sit bug-eyed at a screening of Shock Corridor, Maximilian Le Cain writes

Making Reality

The “amazing grace” of Rossellini's historical TV films

What is the Matrix? Cinema, Totality, and Topophilia

Leary maps the vertiginous images of “totality” presented in The Matrix and its sequels

Daily Reports from the 53rd Melbourne International Film Festival

• Festival Wrap-Up • Friday 6 August • Thursday 5 August • Wednesday 4 August • Monday 2 August • Sunday 1 August • Thursday

Brother’s Intimacy: Patrice Chéreau’s Son frère

Through the depiction of the body in pain and the shame of shamelessness, Chéreau locates a balance between intimacy, dignity and crudity

Passing Fancy (Dekigokoro)

Passing Fancy (Dekigokoro) (1933 Japan 101 mins) Source, Prod Co: Shochiku Films Dir: Yasujiro Ozu Scr: Tadao Ikeda, based on an idea by Ozu (using

Against Cinephiliphobia: Movie Mutations: The Changing Face of World Cinephilia edited by Jonathan Rosenbaum and Adrian Martin

The disappointment of Peter Cowie’s recent Revolution! The Explosion of World Cinema in the ’60s (1) is in the failure of the book to capture

To Live and Die in L.A.: Ritual in the Films of Willem Dafoe

A martyr to the cinema: Hallberg traces the meta-narrative of death and transcendence guiding Dafoe's film performances

Daybreak and Whiteye

Daybreak and Whiteye (1957 USA 8 mins) Filmmaker: Stan Brakhage As an amateur enthusiast working out of the Auckland Filmmakers’ Cooperative in the early 1980s

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