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	<title>Senses of Cinema &#187; Cinémathèque Annotations on Film</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>“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>
		<wfw:commentRss>http://sensesofcinema.com/2012/cteq/%e2%80%9cpeople-are-waiting%e2%80%9d-elia-kazan-and-america-america/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Identity in Elia Kazan’s Splendor in the Grass</title>
		<link>http://sensesofcinema.com/2012/cteq/identity-in-elia-kazan%e2%80%99s-splendor-in-the-grass/</link>
		<comments>http://sensesofcinema.com/2012/cteq/identity-in-elia-kazan%e2%80%99s-splendor-in-the-grass/#comments</comments>
		<pubDate>Sun, 18 Mar 2012 05:59:18 +0000</pubDate>
		<dc:creator>Arthur Rankin</dc:creator>
				<category><![CDATA[Cinémathèque Annotations on Film]]></category>
		<category><![CDATA[Issue 62]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=10711</guid>
		<description><![CDATA[Elia Kazan’s Splendor in the Grass (1961) concerns the problems encountered by two teenagers – Wilma Dean (“Deanie”) Loomis (Natalie Wood) and Bud Stamper (Warren Beatty) – living in Kansas at the end of the 1920s. Their sexual desire for each other has no outlet because of the rigid morals of the time, and leads ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2012/cteq/identity-in-elia-kazan%e2%80%99s-splendor-in-the-grass/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>East of Eden</title>
		<link>http://sensesofcinema.com/2012/cteq/east-of-eden/</link>
		<comments>http://sensesofcinema.com/2012/cteq/east-of-eden/#comments</comments>
		<pubDate>Sun, 18 Mar 2012 05:58:49 +0000</pubDate>
		<dc:creator>Michael Da Silva</dc:creator>
				<category><![CDATA[Cinémathèque Annotations on Film]]></category>
		<category><![CDATA[Issue 62]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=10673</guid>
		<description><![CDATA[“East of Eden is more personal to me; it is more my own story. One hates one’s father; one rebels against him; finally one cares for him, one recovers oneself, one understands him, one forgives him, and one says to oneself, ‘Yes, he is like that’… one is no longer afraid of him, one has ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2012/cteq/east-of-eden/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>American Friend</title>
		<link>http://sensesofcinema.com/2012/cteq/american-friend/</link>
		<comments>http://sensesofcinema.com/2012/cteq/american-friend/#comments</comments>
		<pubDate>Sun, 18 Mar 2012 05:58:28 +0000</pubDate>
		<dc:creator>Carlota Larrea</dc:creator>
				<category><![CDATA[Cinémathèque Annotations on Film]]></category>
		<category><![CDATA[Issue 62]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=10670</guid>
		<description><![CDATA[Discussion of the New Waves of European national cinemas that emerged after World War II has often focused on those movements’ stances towards American cinema. While Italian neo-realism and British social realism tended to be defined as filmmaking practices opposed to those of American cinema, the French nouvelle vague and the New German Cinema of ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2012/cteq/american-friend/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>What is Said and Left Unsaid in Hou Hsiao-hsien’s Flowers of Shanghai</title>
		<link>http://sensesofcinema.com/2012/cteq/what-is-said-and-left-unsaid-in-hou-hsiao-hsien%e2%80%99s-flowers-of-shanghai/</link>
		<comments>http://sensesofcinema.com/2012/cteq/what-is-said-and-left-unsaid-in-hou-hsiao-hsien%e2%80%99s-flowers-of-shanghai/#comments</comments>
		<pubDate>Sun, 18 Mar 2012 05:57:15 +0000</pubDate>
		<dc:creator>Christopher Lupke</dc:creator>
				<category><![CDATA[Cinémathèque Annotations on Film]]></category>
		<category><![CDATA[Issue 62]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=10815</guid>
		<description><![CDATA[Hou Hsiao-hsien’s Hai shang hua (Flowers of Shanghai, 1998) is a film constructed like no other: it doesn’t follow the conventions of gradual and deliberate narrative unfolding; it doesn’t vary sets greatly; it doesn’t distinguish the characters from one another in particularly obvious ways. It is a riddle that almost exclusively employs a third person ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2012/cteq/what-is-said-and-left-unsaid-in-hou-hsiao-hsien%e2%80%99s-flowers-of-shanghai/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>L&#8217;eclisse</title>
		<link>http://sensesofcinema.com/2012/cteq/leclisse/</link>
		<comments>http://sensesofcinema.com/2012/cteq/leclisse/#comments</comments>
		<pubDate>Sun, 18 Mar 2012 05:56:34 +0000</pubDate>
		<dc:creator>Christopher Sharrett</dc:creator>
				<category><![CDATA[Cinémathèque Annotations on Film]]></category>
		<category><![CDATA[Issue 62]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=10686</guid>
		<description><![CDATA[Michelangelo Antonioni’s name seems to have fallen somewhat into disrepute in US film culture over the last several decades, his main concerns – alienation and the collapse of communication – the subject of a collective yawn. Once seen as the cinema’s most adept observer of alienation as the dominant tone of postwar industrial civilisation, Antonioni ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2012/cteq/leclisse/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>The Passenger</title>
		<link>http://sensesofcinema.com/2012/cteq/the-passenger/</link>
		<comments>http://sensesofcinema.com/2012/cteq/the-passenger/#comments</comments>
		<pubDate>Sun, 18 Mar 2012 05:55:50 +0000</pubDate>
		<dc:creator>Jonathan Dawson</dc:creator>
				<category><![CDATA[Cinémathèque Annotations on Film]]></category>
		<category><![CDATA[Issue 62]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=10702</guid>
		<description><![CDATA[“We know that under the image revealed there is another which is truer to reality and under this image still another and yet again still another under this last one, right down to the true image of that reality, absolute, mysterious, which no one will ever see or perhaps right down to the decomposition of ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2012/cteq/the-passenger/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Helen Levitt</title>
		<link>http://sensesofcinema.com/2012/cteq/helen-levitt/</link>
		<comments>http://sensesofcinema.com/2012/cteq/helen-levitt/#comments</comments>
		<pubDate>Sun, 18 Mar 2012 05:54:33 +0000</pubDate>
		<dc:creator>Deane Williams</dc:creator>
				<category><![CDATA[Cinémathèque Annotations on Film]]></category>
		<category><![CDATA[Issue 62]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=11008</guid>
		<description><![CDATA[“The films I most eagerly look forward to will not be documentaries but works of fiction, played against and into and in collaboration with unrehearsed and uninvented reality.” – James Agee (1) Introduction Helen Levitt (1913-2009) was a major figure in the street photography movement of the postwar years in New York City. Her name ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2012/cteq/helen-levitt/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>A Man Escaped</title>
		<link>http://sensesofcinema.com/2012/cteq/a-man-escaped/</link>
		<comments>http://sensesofcinema.com/2012/cteq/a-man-escaped/#comments</comments>
		<pubDate>Sun, 18 Mar 2012 05:53:00 +0000</pubDate>
		<dc:creator>Gwendolyn Audrey Foster</dc:creator>
				<category><![CDATA[Cinémathèque Annotations on Film]]></category>
		<category><![CDATA[Issue 62]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=10699</guid>
		<description><![CDATA[“When one is in prison, the most important thing is the door.” – Robert Bresson (1) Un condamné à mort s’est échappé ou Le vent souffle où il veut (A Man Escaped, 1956) is one of Bresson’s most sublime and understated films, in a career that consists of a series of meditational masterpieces that minutely ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2012/cteq/a-man-escaped/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Voices With(out) a Face: On Robert Bresson’s Procès de Jeanne d’Arc</title>
		<link>http://sensesofcinema.com/2012/cteq/voices-without-a-face-on-robert-bresson%e2%80%99s-proces-de-jeanne-d%e2%80%99arc/</link>
		<comments>http://sensesofcinema.com/2012/cteq/voices-without-a-face-on-robert-bresson%e2%80%99s-proces-de-jeanne-d%e2%80%99arc/#comments</comments>
		<pubDate>Sun, 18 Mar 2012 05:51:12 +0000</pubDate>
		<dc:creator>José Sarmiento</dc:creator>
				<category><![CDATA[Cinémathèque Annotations on Film]]></category>
		<category><![CDATA[Issue 62]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=11012</guid>
		<description><![CDATA[“In my Trial of Joan of Arc I have tried to avoid “theater” and “masquerade”, but to arrive at a non-historical truth by using historical words.” - Robert Bresson (1) Released in 1962, and receiving mild-hearted reviews from the press, Bresson’s Procès de Jeanne d’Arc (The Trial of Joan of Arc, 1962) remained for a ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2012/cteq/voices-without-a-face-on-robert-bresson%e2%80%99s-proces-de-jeanne-d%e2%80%99arc/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Les dames du Bois de Boulogne</title>
		<link>http://sensesofcinema.com/2012/cteq/les-dames-du-bois-de-boulogne/</link>
		<comments>http://sensesofcinema.com/2012/cteq/les-dames-du-bois-de-boulogne/#comments</comments>
		<pubDate>Sun, 18 Mar 2012 05:49:51 +0000</pubDate>
		<dc:creator>Manjari Kaul</dc:creator>
				<category><![CDATA[Cinémathèque Annotations on Film]]></category>
		<category><![CDATA[Issue 62]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=10688</guid>
		<description><![CDATA[“Only the conflicts that take place inside the characters give a film its real movement.” - Robert Bresson (1) “Destiny is tragic but I prefer a fate we choose to one forced upon us.” -Agnès (Elina Labourdette) in Robert Bresson’s Les dames du Bois de Boulogne (1945) For Bresson, as Marvin Zeman puts it, life consists ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2012/cteq/les-dames-du-bois-de-boulogne/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>I Magliari</title>
		<link>http://sensesofcinema.com/2012/cteq/i-magliari/</link>
		<comments>http://sensesofcinema.com/2012/cteq/i-magliari/#comments</comments>
		<pubDate>Sun, 18 Mar 2012 05:47:44 +0000</pubDate>
		<dc:creator>Pasquale Iannone</dc:creator>
				<category><![CDATA[Cinémathèque Annotations on Film]]></category>
		<category><![CDATA[Issue 62]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=10676</guid>
		<description><![CDATA[Released two years before his international breakthrough Salvatore Giuliano (1962), Francesco Rosi’s I magliari (1959) is the story of immigrant Italian workers seeking their fortune in late Adenauer-era West Germany. Unfairly neglected by critics and historians, the film is usually regarded a prelude to the Neapolitan director’s ambitious, labyrinthine chronicles of power and corruption of ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2012/cteq/i-magliari/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Salvatore Giuliano</title>
		<link>http://sensesofcinema.com/2012/cteq/salvatore-giuliano/</link>
		<comments>http://sensesofcinema.com/2012/cteq/salvatore-giuliano/#comments</comments>
		<pubDate>Sun, 18 Mar 2012 05:45:14 +0000</pubDate>
		<dc:creator>Darragh O’Donoghue</dc:creator>
				<category><![CDATA[Cinémathèque Annotations on Film]]></category>
		<category><![CDATA[Issue 62]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=10705</guid>
		<description><![CDATA[The trailer for Salvatore Giuliano (1962) begins with a town crier walking down a Sicilian street, banging a drum. This is followed by a group of men distributed across the town square, one playing a Jew’s harp. The crier is proclaiming a military curfew, but could as easily be announcing a new show in town. ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2012/cteq/salvatore-giuliano/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Lucky Luciano</title>
		<link>http://sensesofcinema.com/2012/cteq/lucky-luciano/</link>
		<comments>http://sensesofcinema.com/2012/cteq/lucky-luciano/#comments</comments>
		<pubDate>Sun, 18 Mar 2012 05:43:23 +0000</pubDate>
		<dc:creator>Pasquale Iannone</dc:creator>
				<category><![CDATA[Cinémathèque Annotations on Film]]></category>
		<category><![CDATA[Issue 62]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=10696</guid>
		<description><![CDATA[As Gian-Piero Brunetta has noted, Francesco Rosi’s Il caso Mattei (The Mattei Affair, 1972) and Lucky Luciano (1973) saw the Neapolitan filmmaker return to the narrative model of his first major success Salvatore Giuliano (1962) (1). Both films employ a non-linear structure in an attempt to outline the complex web of political and economic intrigue ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2012/cteq/lucky-luciano/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Beyond Camp or the Politics of Persona: Josef von Sternberg’s The Scarlet Empress</title>
		<link>http://sensesofcinema.com/2012/cteq/beyond-camp-or-the-politics-of-persona-josef-von-sternberg%e2%80%99s-the-scarlet-empress/</link>
		<comments>http://sensesofcinema.com/2012/cteq/beyond-camp-or-the-politics-of-persona-josef-von-sternberg%e2%80%99s-the-scarlet-empress/#comments</comments>
		<pubDate>Sun, 18 Mar 2012 05:41:37 +0000</pubDate>
		<dc:creator>Peter H. Kemp</dc:creator>
				<category><![CDATA[Cinémathèque Annotations on Film]]></category>
		<category><![CDATA[Issue 62]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=10819</guid>
		<description><![CDATA[“Marlene Dietrich was used as a camera subject instead of as a person. She’s photographed behind veils and fishnets, while dwarfs slither about and bells ring and everybody tries to look degenerate.” – Pauline Kael (1) “Catherine must escape being swallowed by the décor and avoid having her individuality obliterated by the forms and desires ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2012/cteq/beyond-camp-or-the-politics-of-persona-josef-von-sternberg%e2%80%99s-the-scarlet-empress/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>The Docks of New York</title>
		<link>http://sensesofcinema.com/2012/cteq/the-docks-of-new-york/</link>
		<comments>http://sensesofcinema.com/2012/cteq/the-docks-of-new-york/#comments</comments>
		<pubDate>Sun, 18 Mar 2012 04:57:06 +0000</pubDate>
		<dc:creator>William “Bill” Blick</dc:creator>
				<category><![CDATA[Cinémathèque Annotations on Film]]></category>
		<category><![CDATA[Issue 62]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=11004</guid>
		<description><![CDATA[“Miles of docks wait day and night for strange cargo – and stranger men”, reads the initial intertitle of Josef von Sternberg’s masterfully constructed late silent film The Docks of New York (1928). Sternberg utilises the milieu of the waterfront in New York City to study his characters, illuminating different aspects of humanity. The film’s ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2012/cteq/the-docks-of-new-york/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Shanghai Express</title>
		<link>http://sensesofcinema.com/2012/cteq/shanghai-express/</link>
		<comments>http://sensesofcinema.com/2012/cteq/shanghai-express/#comments</comments>
		<pubDate>Tue, 07 Feb 2012 06:13:52 +0000</pubDate>
		<dc:creator>Wheeler Winston Dixon</dc:creator>
				<category><![CDATA[Cinémathèque Annotations on Film]]></category>
		<category><![CDATA[Issue 62]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=10708</guid>
		<description><![CDATA[“A shaft of white light used properly can be far more effective than all the color in the world used indiscriminately.” – Josef von Sternberg (1) Of all the delirious exoticisms created by Marlene Dietrich and Josef von Sternberg during their white-hot period in the 1930s at Paramount, Shanghai Express (1932) remains my favourite for ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2012/cteq/shanghai-express/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>The Last Command: Josef von Sternberg’s Life and Death of a Russian Extra</title>
		<link>http://sensesofcinema.com/2012/cteq/the-last-command-josef-von-sternberg%e2%80%99s-life-and-death-of-a-russian-extra/</link>
		<comments>http://sensesofcinema.com/2012/cteq/the-last-command-josef-von-sternberg%e2%80%99s-life-and-death-of-a-russian-extra/#comments</comments>
		<pubDate>Tue, 07 Feb 2012 06:08:35 +0000</pubDate>
		<dc:creator>Shari Kizirian</dc:creator>
				<category><![CDATA[Cinémathèque Annotations on Film]]></category>
		<category><![CDATA[Issue 61]]></category>
		<category><![CDATA[Issue 62]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=10679</guid>
		<description><![CDATA[In a profile of Josef von Sternberg for the New Yorker in March 1931, the year Americans got to see the English-language version of Der blaue Engel (The Blue Angel, 1930), the author begins where most writers do when discussing the Austrian-born director who conquered Hollywood with his outré style, both on and off the ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2012/cteq/the-last-command-josef-von-sternberg%e2%80%99s-life-and-death-of-a-russian-extra/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Les Diaboliques</title>
		<link>http://sensesofcinema.com/2011/cteq/les-diaboliques/</link>
		<comments>http://sensesofcinema.com/2011/cteq/les-diaboliques/#comments</comments>
		<pubDate>Fri, 25 Nov 2011 10:50:00 +0000</pubDate>
		<dc:creator>Pedro Blas Gonzalez</dc:creator>
				<category><![CDATA[Cinémathèque Annotations on Film]]></category>
		<category><![CDATA[Issue 61]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=9931</guid>
		<description><![CDATA[Les Diaboliques (1955) is a tale of cold-blooded, calculated murder and suspense. Murder and suspense are always billed together in this kind of film, however, in the case of Les Diaboliques, this is equivalent to suggesting that Shakespeare was merely a playwright who was born in 1564 or that Bengal tigers are colourful quadrupeds. In ]]></description>
		<wfw:commentRss>http://sensesofcinema.com/2011/cteq/les-diaboliques/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Quai des Orfèvres</title>
		<link>http://sensesofcinema.com/2011/cteq/quai-des-orfevres/</link>
		<comments>http://sensesofcinema.com/2011/cteq/quai-des-orfevres/#comments</comments>
		<pubDate>Fri, 25 Nov 2011 08:17:36 +0000</pubDate>
		<dc:creator>David Sanjek</dc:creator>
				<category><![CDATA[Cinémathèque Annotations on Film]]></category>
		<category><![CDATA[Issue 61]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=9917</guid>
		<description><![CDATA[During the course of a conversation in the crime drama Quai des Orfèvres (1947) between the photographer Dora Monier (Simone Renant) and the investigator Antoine (Louis Jouvet), he discourses upon how the demarcation between the law and the lawless often becomes altogether tenuous. Antoine remarks that during his career he has learned certain practical skills ]]></description>
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