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	<title>Senses of Cinema &#187; Book Reviews</title>
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	<description>Issue 62</description>
	<lastBuildDate>Thu, 26 Apr 2012 03:22:25 +0000</lastBuildDate>
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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>
		</item>
		<item>
		<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>
		</item>
		<item>
		<title>Timeless or Timely – The Perils of Editing a Queer Film Classics Series: Word is Out by Greg Youmans; Montreal Main by Thomas Waugh and Jason Garrison; Zero Patience by Susan Knabe and Wendy Gay Pearson</title>
		<link>http://sensesofcinema.com/2012/book-reviews/timeless-or-timely-%e2%80%93-the-perils-of-editing-a-queer-film-classics-series-word-is-out-by-greg-youmans-montreal-main-by-thomas-waugh-and-jason-garrison-zero-patience-by-susan-knabe-and-wendy-g/</link>
		<comments>http://sensesofcinema.com/2012/book-reviews/timeless-or-timely-%e2%80%93-the-perils-of-editing-a-queer-film-classics-series-word-is-out-by-greg-youmans-montreal-main-by-thomas-waugh-and-jason-garrison-zero-patience-by-susan-knabe-and-wendy-g/#comments</comments>
		<pubDate>Sun, 18 Mar 2012 05:49:56 +0000</pubDate>
		<dc:creator>Marcin Wisniewski</dc:creator>
				<category><![CDATA[Book Reviews]]></category>
		<category><![CDATA[Issue 62]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=10848</guid>
		<description><![CDATA[I imagine editing a book series is somewhat akin to curating an art show or even a film retrospective: in all three cases the curators/editors need to present works tied together with a thematic thread. For the Queer Film Classics, a series edited by Thomas Waugh and Matthew Hays for Arsenal Pulp Press, it would ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2012/book-reviews/timeless-or-timely-%e2%80%93-the-perils-of-editing-a-queer-film-classics-series-word-is-out-by-greg-youmans-montreal-main-by-thomas-waugh-and-jason-garrison-zero-patience-by-susan-knabe-and-wendy-g/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Into the Past: The Cinema of Guy Maddin by William Beard; and Playing with Memories: Essays on Guy Maddin edited by David Church</title>
		<link>http://sensesofcinema.com/2012/book-reviews/into-the-past-the-cinema-of-guy-maddin-by-william-beard-and-playing-with-memories-essays-on-guy-maddin-edited-by-david-church/</link>
		<comments>http://sensesofcinema.com/2012/book-reviews/into-the-past-the-cinema-of-guy-maddin-by-william-beard-and-playing-with-memories-essays-on-guy-maddin-edited-by-david-church/#comments</comments>
		<pubDate>Sun, 18 Mar 2012 05:47:10 +0000</pubDate>
		<dc:creator>Cerise Howard</dc:creator>
				<category><![CDATA[Book Reviews]]></category>
		<category><![CDATA[Issue 62]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=11022</guid>
		<description><![CDATA[At the time of writing we are but a few weeks out from the 84th Academy Awards. Extraordinarily, the two films most likely to be most showered with Oscars at this year’s ceremony are The Artist (Michel Hazanavicius, 2011) and Hugo (Martin Scorsese, 2011), valentines both to cinema’s long distant silent era. Perhaps this sudden-seeming ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2012/book-reviews/into-the-past-the-cinema-of-guy-maddin-by-william-beard-and-playing-with-memories-essays-on-guy-maddin-edited-by-david-church/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>New Zealand Cinema: Interpreting the Past, edited by Alistair Fox, Barry Keith Grant, and Hilary Radner</title>
		<link>http://sensesofcinema.com/2012/book-reviews/new-zealand-cinema-interpreting-the-past-edited-by-alistair-fox-barry-keith-grant-and-hilary-radner/</link>
		<comments>http://sensesofcinema.com/2012/book-reviews/new-zealand-cinema-interpreting-the-past-edited-by-alistair-fox-barry-keith-grant-and-hilary-radner/#comments</comments>
		<pubDate>Sun, 18 Mar 2012 05:27:08 +0000</pubDate>
		<dc:creator>James Bennett</dc:creator>
				<category><![CDATA[Book Reviews]]></category>
		<category><![CDATA[Issue 62]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=10855</guid>
		<description><![CDATA[“[T]he space in which historical and cinematic narratives intersect remains an insufficiently examined but potentially fecund area of study.” (Reid Perkins cited on p. 16) The remarkable success of New Zealand cinema is all the more impressive for its relatively brief course. The “new wave” of this national cinema dates back to just the late ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2012/book-reviews/new-zealand-cinema-interpreting-the-past-edited-by-alistair-fox-barry-keith-grant-and-hilary-radner/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Addressing the Political to the Personal: Reframing Bodies: AIDS, Bearing Witness, and the Queer Moving Image by Roger Hallas</title>
		<link>http://sensesofcinema.com/2012/book-reviews/addressing-the-political-to-the-personal-reframing-bodies-aids-bearing-witness-and-the-queer-moving-image-by-roger-hallas/</link>
		<comments>http://sensesofcinema.com/2012/book-reviews/addressing-the-political-to-the-personal-reframing-bodies-aids-bearing-witness-and-the-queer-moving-image-by-roger-hallas/#comments</comments>
		<pubDate>Mon, 05 Mar 2012 22:43:31 +0000</pubDate>
		<dc:creator>Joseph S. Valle</dc:creator>
				<category><![CDATA[Book Reviews]]></category>
		<category><![CDATA[Issue 62]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=10844</guid>
		<description><![CDATA[As film scholar Jane Gaines notes in her groundbreaking article “Political Mimesis” (1), documentaries have a reputation for being a catalyst for social change, yet so few have actually succeeded in generating a bodily response from the audience where they literally jump out of their seats to join the call to action. However, as Roger ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2012/book-reviews/addressing-the-political-to-the-personal-reframing-bodies-aids-bearing-witness-and-the-queer-moving-image-by-roger-hallas/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>The Newest New Wave: New Austrian Film edited by Robert von Dassanowsky and Oliver C. Speck</title>
		<link>http://sensesofcinema.com/2012/book-reviews/the-newest-new-wave-new-austrian-film-edited-by-robert-von-dassanowsky-and-oliver-c-speck/</link>
		<comments>http://sensesofcinema.com/2012/book-reviews/the-newest-new-wave-new-austrian-film-edited-by-robert-von-dassanowsky-and-oliver-c-speck/#comments</comments>
		<pubDate>Mon, 05 Mar 2012 22:31:56 +0000</pubDate>
		<dc:creator>Todd Herzog</dc:creator>
				<category><![CDATA[Book Reviews]]></category>
		<category><![CDATA[Issue 62]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=10839</guid>
		<description><![CDATA[Is there an Austrian National Cinema? The concept of national cinema has always been difficult to pin down. Especially in a country whose domestic market is as small and whose identity has been as fluid as Austria’s. Consider the 82nd Academy Awards Ceremony. Sitting in the audience at the Kodak Theater in Los Angeles on ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2012/book-reviews/the-newest-new-wave-new-austrian-film-edited-by-robert-von-dassanowsky-and-oliver-c-speck/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
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		<title>The 21st Century Screenplay: A Comprehensive Guide to Writing Tomorrow’s Films by Linda Aronson; Screenwriting: History, Theory and Practice by Steven Maras</title>
		<link>http://sensesofcinema.com/2012/book-reviews/the-21st-century-screenplay-a-comprehensive-guide-to-writing-tomorrow%e2%80%99s-films-by-linda-aronson-screenwriting-history-theory-and-practice-by-steven-maras/</link>
		<comments>http://sensesofcinema.com/2012/book-reviews/the-21st-century-screenplay-a-comprehensive-guide-to-writing-tomorrow%e2%80%99s-films-by-linda-aronson-screenwriting-history-theory-and-practice-by-steven-maras/#comments</comments>
		<pubDate>Mon, 05 Mar 2012 22:22:01 +0000</pubDate>
		<dc:creator>Matt Hawkins</dc:creator>
				<category><![CDATA[Book Reviews]]></category>
		<category><![CDATA[Issue 62]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=10832</guid>
		<description><![CDATA[The study of screenwriting has become increasingly popular at Australian universities, and a perpetual question for the screenwriting lecturer is what sources are appropriate as reference material for students? Does one rely on the dogmatic approach of the screenwriting gurus who “tell it like it is”, or does one seek a more academic study of ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2012/book-reviews/the-21st-century-screenplay-a-comprehensive-guide-to-writing-tomorrow%e2%80%99s-films-by-linda-aronson-screenwriting-history-theory-and-practice-by-steven-maras/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Better off Dead: The Evolution of the Zombie as Post-Human edited by Deborah Christie and Sarah Juliet Lauro</title>
		<link>http://sensesofcinema.com/2012/book-reviews/better-off-dead-the-evolution-of-the-zombie-as-post-human-edited-by-deborah-christie-and-sarah-juliet-lauro/</link>
		<comments>http://sensesofcinema.com/2012/book-reviews/better-off-dead-the-evolution-of-the-zombie-as-post-human-edited-by-deborah-christie-and-sarah-juliet-lauro/#comments</comments>
		<pubDate>Mon, 05 Mar 2012 22:08:31 +0000</pubDate>
		<dc:creator>Mithuraaj Dhusiya</dc:creator>
				<category><![CDATA[Book Reviews]]></category>
		<category><![CDATA[Issue 62]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=10827</guid>
		<description><![CDATA[How often have we longed for well-researched and documented scholarly works on zombie literature and films? And how equally often have we been disappointed by its paucity, even though the market is inundated with zombie fiction and films. Deborah Christie and Sarah Juliet Lauro’s edited collection Better off Dead: The Evolution of the Zombie as ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2012/book-reviews/better-off-dead-the-evolution-of-the-zombie-as-post-human-edited-by-deborah-christie-and-sarah-juliet-lauro/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Twentieth Century Prodigal Son: Nicholas Ray – The Glorious Failure of an American Director by Patrick McGilligan</title>
		<link>http://sensesofcinema.com/2011/book-reviews/twentieth-century-prodigal-son-nicholas-ray-%e2%80%93-the-glorious-failure-of-an-american-director-by-patrick-mcgilligan/</link>
		<comments>http://sensesofcinema.com/2011/book-reviews/twentieth-century-prodigal-son-nicholas-ray-%e2%80%93-the-glorious-failure-of-an-american-director-by-patrick-mcgilligan/#comments</comments>
		<pubDate>Wed, 14 Dec 2011 13:30:28 +0000</pubDate>
		<dc:creator>Blaine Allan</dc:creator>
				<category><![CDATA[Book Reviews]]></category>
		<category><![CDATA[Issue 61]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=10027</guid>
		<description><![CDATA[In Bigger Than Life (1956) schoolteacher Ed Avery fragments in the broken medicine-cabinet mirror that his wife Lou furiously slams shut when in a pharmaceutically induced delusion he imperiously gives her an order and crosses a line of civility. For only a few frames just moments before, in accidental confluence the blurred face of director ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2011/book-reviews/twentieth-century-prodigal-son-nicholas-ray-%e2%80%93-the-glorious-failure-of-an-american-director-by-patrick-mcgilligan/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
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		<title>Print the Legend &#8211; Raoul Walsh: The True Adventures of Hollywood’s Legendary Director by Marilyn Ann Moss</title>
		<link>http://sensesofcinema.com/2011/book-reviews/print-the-legend-raoul-walsh-the-true-adventures-of-hollywood%e2%80%99s-legendary-director-by-marilyn-ann-moss/</link>
		<comments>http://sensesofcinema.com/2011/book-reviews/print-the-legend-raoul-walsh-the-true-adventures-of-hollywood%e2%80%99s-legendary-director-by-marilyn-ann-moss/#comments</comments>
		<pubDate>Wed, 14 Dec 2011 13:20:16 +0000</pubDate>
		<dc:creator>Graham Daseler</dc:creator>
				<category><![CDATA[Book Reviews]]></category>
		<category><![CDATA[Issue 61]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=10029</guid>
		<description><![CDATA[One night, in the autumn of 1929, Raoul Walsh was driving along a desolate highway in the Utah desert, scouting locations for his next movie. Suddenly, a jackrabbit skittered across the road. Hurtled into the air by the force of the speeding jeep, the rabbit crashed through the windshield, spraying Walsh’s face with glass. When ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2011/book-reviews/print-the-legend-raoul-walsh-the-true-adventures-of-hollywood%e2%80%99s-legendary-director-by-marilyn-ann-moss/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
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		<title>Post-Classical Hollywood: Film Industry, Style and Ideology Since 1945 by Barry Langford</title>
		<link>http://sensesofcinema.com/2011/book-reviews/post-classical-hollywood-film-industry-style-and-ideology-since-1945-by-barry-langford/</link>
		<comments>http://sensesofcinema.com/2011/book-reviews/post-classical-hollywood-film-industry-style-and-ideology-since-1945-by-barry-langford/#comments</comments>
		<pubDate>Wed, 14 Dec 2011 13:10:27 +0000</pubDate>
		<dc:creator>Mike Walsh</dc:creator>
				<category><![CDATA[Book Reviews]]></category>
		<category><![CDATA[Issue 61]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=10036</guid>
		<description><![CDATA[The idea that Michael Mann’s films are different from those of Anthony Mann or that Paramount Pictures under Sumner Redstone might share little more than its trademarks and maybe its library with the company controlled by Adolph Zukor inevitably gives rise to the search for social, industrial and/or textual turning points. However, the broader notion ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2011/book-reviews/post-classical-hollywood-film-industry-style-and-ideology-since-1945-by-barry-langford/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Wolf Creek by Sonya Hartnett</title>
		<link>http://sensesofcinema.com/2011/book-reviews/wolf-creek-by-sonya-hartnett/</link>
		<comments>http://sensesofcinema.com/2011/book-reviews/wolf-creek-by-sonya-hartnett/#comments</comments>
		<pubDate>Wed, 14 Dec 2011 13:00:31 +0000</pubDate>
		<dc:creator>Mark David Ryan</dc:creator>
				<category><![CDATA[Book Reviews]]></category>
		<category><![CDATA[Issue 61]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=10041</guid>
		<description><![CDATA[Australian screen classics are seminal for a range of reasons: whether it is a particular title’s popularity and impact upon popular culture, its cultural and textual meaning, or what the film tells us about the social, political and cultural climate from which it emerged. Wolf Creek (Greg McLean, 2005) is undoubtedly an Australian screen classic. ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2011/book-reviews/wolf-creek-by-sonya-hartnett/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
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		<title>A Process of Purification: Badiou and Cinema by Alex Ling</title>
		<link>http://sensesofcinema.com/2011/book-reviews/a-process-of-purification-badiou-and-cinema-by-alex-ling/</link>
		<comments>http://sensesofcinema.com/2011/book-reviews/a-process-of-purification-badiou-and-cinema-by-alex-ling/#comments</comments>
		<pubDate>Wed, 14 Dec 2011 12:53:03 +0000</pubDate>
		<dc:creator>Tony McKibbin</dc:creator>
				<category><![CDATA[Book Reviews]]></category>
		<category><![CDATA[Issue 61]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=10039</guid>
		<description><![CDATA[A few years back in The Cinema Book, Rob White proposed that one reason why it took so long for Anglo-American academics to absorb Gilles Deleuze was theory “fatigue”(1). After working their way through structuralism and semiotics, psychoanalysis and so on, who needed yet another thinker on the stage? Some might well feel the same ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2011/book-reviews/a-process-of-purification-badiou-and-cinema-by-alex-ling/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
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		<item>
		<title>A History of Russian Cinema by Birgit Beumers</title>
		<link>http://sensesofcinema.com/2011/book-reviews/a-history-of-russian-cinema-by-birgit-beumers/</link>
		<comments>http://sensesofcinema.com/2011/book-reviews/a-history-of-russian-cinema-by-birgit-beumers/#comments</comments>
		<pubDate>Wed, 14 Dec 2011 10:00:18 +0000</pubDate>
		<dc:creator>Thomas Redwood</dc:creator>
				<category><![CDATA[Book Reviews]]></category>
		<category><![CDATA[Issue 61]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=10127</guid>
		<description><![CDATA[To keep one’s words to a minimum whilst also maintaining intellectual authority over a subject is a true skill: to know one’s subject intimately and to distinguish with certainty what is and what is not essential for the reader’s elementary understanding. Birgit Beumers displays this skill in A History of Russian Cinema. With a main ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2011/book-reviews/a-history-of-russian-cinema-by-birgit-beumers/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>David Lynch Interviews edited by Richard A. Barney</title>
		<link>http://sensesofcinema.com/2011/book-reviews/david-lynch-interviews-edited-by-richard-a-barney/</link>
		<comments>http://sensesofcinema.com/2011/book-reviews/david-lynch-interviews-edited-by-richard-a-barney/#comments</comments>
		<pubDate>Tue, 13 Dec 2011 12:58:13 +0000</pubDate>
		<dc:creator>Jay Daniel Thompson</dc:creator>
				<category><![CDATA[Book Reviews]]></category>
		<category><![CDATA[Issue 61]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=10033</guid>
		<description><![CDATA[I have been a David Lynch fan for many years. His cryptic narratives and the sense of dread that pervades his films have always gripped me. As a former cinema studies student, I have also enjoyed his intertextual references to classic Hollywood movies (particularly films noir from the 1940s and 1950s). So you can imagine ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2011/book-reviews/david-lynch-interviews-edited-by-richard-a-barney/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
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		<title>Minding Movies: Observations on the Art, Craft, and Business of Filmmaking by David Bordwell and Kristin Thompson</title>
		<link>http://sensesofcinema.com/2011/book-reviews/minding-movies-observations-on-the-art-craft-and-business-of-filmmaking-by-david-bordwell-and-kristin-thompson/</link>
		<comments>http://sensesofcinema.com/2011/book-reviews/minding-movies-observations-on-the-art-craft-and-business-of-filmmaking-by-david-bordwell-and-kristin-thompson/#comments</comments>
		<pubDate>Fri, 07 Oct 2011 10:42:08 +0000</pubDate>
		<dc:creator>Tony McKibbin</dc:creator>
				<category><![CDATA[Book Reviews]]></category>
		<category><![CDATA[Issue 60]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=9534</guid>
		<description><![CDATA[David Bordwell is undeniably one of the great “quantitative” critics in the world, one of those writers who trust strongly in common sense and what is in front of his eyes, and yet to call Bordwell a critic seems like a misnomer. Though you’ll find plenty examples of Bordwell’s cinematic recommendations, we might wonder exactly ]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Jacques Rivette by Douglas Morrey and Alison Smith</title>
		<link>http://sensesofcinema.com/2011/book-reviews/jacques-rivette-by-douglas-morrey-and-alison-smith/</link>
		<comments>http://sensesofcinema.com/2011/book-reviews/jacques-rivette-by-douglas-morrey-and-alison-smith/#comments</comments>
		<pubDate>Fri, 07 Oct 2011 10:40:18 +0000</pubDate>
		<dc:creator>Daniel Fairfax</dc:creator>
				<category><![CDATA[Book Reviews]]></category>
		<category><![CDATA[Issue 60]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=9406</guid>
		<description><![CDATA[Jacques Rivette: Phantom of the Cinema could well be an alternative title for this book, the long overdue first English-language monograph on the enigmatic French director. Seldom in the history of the cinema has there been such a crying disparity between the frequency with which a filmmaker’s name has been invoked and the rarity of ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2011/book-reviews/jacques-rivette-by-douglas-morrey-and-alison-smith/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Baz Luhrmann by Pam Cook</title>
		<link>http://sensesofcinema.com/2011/book-reviews/baz-luhrmann-by-pam-cook/</link>
		<comments>http://sensesofcinema.com/2011/book-reviews/baz-luhrmann-by-pam-cook/#comments</comments>
		<pubDate>Fri, 07 Oct 2011 10:39:16 +0000</pubDate>
		<dc:creator>Ben Goldsmith</dc:creator>
				<category><![CDATA[Book Reviews]]></category>
		<category><![CDATA[Issue 60]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=9368</guid>
		<description><![CDATA[Baz Luhrmann’s fifth feature film, an adaptation in 3D of The Great Gatsby, will begin production in Sydney this month. Although the story may be familiar from F. Scott Fitzgerald’s novel, if past experience is any guide, mysteries and surprises will abound before the film actually reaches audiences in a year or two. When it ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2011/book-reviews/baz-luhrmann-by-pam-cook/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Encyclopedia of Early Cinema edited by Richard Abel</title>
		<link>http://sensesofcinema.com/2011/book-reviews/encyclopedia-of-early-cinema-edited-by-richard-abel/</link>
		<comments>http://sensesofcinema.com/2011/book-reviews/encyclopedia-of-early-cinema-edited-by-richard-abel/#comments</comments>
		<pubDate>Fri, 07 Oct 2011 10:38:09 +0000</pubDate>
		<dc:creator>Mike Walsh</dc:creator>
				<category><![CDATA[Book Reviews]]></category>
		<category><![CDATA[Issue 60]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=9540</guid>
		<description><![CDATA[If I had to claim one area of development that signified the importance of cinema studies in the last two decades of the twentieth century, I would argue for the work done on early cinema. Film history once skipped quickly from the Lumière/Méliès distinction to The Birth of a Nation (D.W. Griffith, 1915), but following ]]></description>
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		<slash:comments>0</slash:comments>
		</item>
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