Issue 55
“Moving Images Around the World”: The 7th Orphan Film Symposium
Loosely defined as “all manner of films outside of the commercial mainstream”, orphan works include educational, ethnographic, government, experimental, student, newsreels, industrial, censored, unreleased and
À Propos de Pamplona: The 6th Punto de Vista Festival Internacional de Cine Documental de Navarra
The taxi driver that brought me to Pamplona Airport first took a detour through the suburbs. For free. His alternative route led us through concrete
Against the Practice of the Mild: The 53rd San Francisco International Film Festival
At a slot in the 53rd San Francisco International Film Festival program called Porchlight: True Stories From the Frontiers of International Filmmaking, directors took the
The Image and its Discontent: The 29th Sundance Film Festival and the 18th Pan African Film and Arts Festival
Handsome Men and Narrative Holes – Rob Epstein and Jeffrey Friedman’s Howl (US Dramatic Competition) The best thing you could say about the Opening Night
A Double World of Undigested Memory: The 57th Sydney Film Festival
Pioneer Room Rhapsody A slightly cagey throng of greying cinemagoers mill nervously in the lower foyer of Sydney’s State Theatre. Red liveried ushers assure us
Darryl F. Zanuck: 19th Century-Fox
Can a producer be considered an auteur? Possibly not, but Tom Stempel offers insights in to how Zanuck’s personal view of American history stamped the
Irish Brother Feeney: Francis Ford in John Ford’s films
A few issues back Senses published Tag Gallagher’s exhaustive career study of producer/director/actor Francis Ford. Picking up the thread, Charles Barr offers a discussion on
Mapping Australia: Cinematic Cartographies of (Dis)location
Jane Mills makes a number of telling observations about some shared traits between the art of maps and the cinema, and furthermore, dissects the narrative,