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      Journey to Galveston: An Interview with Catherine Berge on King Vidor

      Adam Trainer
      June 2011
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    • Horse-People and White Voices: Neoliberalism and Race in Sorry to Bother You

      Thomas Austin
      May 2023
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      Peter Verstraten
      May 2023
    • Spectatorial Labour: The Political Vision of Sergei Loznitsa’s Documentaries

      Santasil Mallik
      May 2023
    • When Knowledge Takes Over Action: A Narrative Analysis of Three Georgian Conflict-Sensitive Films: The Other Bank, Tangerines, and Corn Island

      Khatuna Maisashvili
      January 2023
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      Laleen Jayamanne
      January 2023
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      Bruce Jackson
      January 2023
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      Adam Trainer
      May 2022
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      Maria Giovanna Vagenas
      May 2023
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      Brigitta Wagner
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      Purple Romero
      May 2023
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      Maja Korbecka
      May 2023
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      Hamed Sarrafi
      May 2023
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      Silvia Spitta & Gerd Gemünden
      May 2023
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      Adam Trainer
      December 2018
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      Jeremy Carr
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      Sherry Johnson
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      Giampiero Frasca
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      October 2022
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      Hal Young
      October 2022
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      Adam Trainer
      May 2022
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      Wheeler Winston Dixon
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      Jacob Agius
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      Hidden Face: Asian Cinema and the Sydney Film Festival

      Adam Trainer
      July 2003
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      Sian Mitchell
      May 2023
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      Carmen Gray
      May 2023
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      Will DiGravio
      May 2023
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      Jay Kuehner
      May 2023
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      Tara Judah
      May 2023
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      Bérénice Reynaud
      May 2023
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    • Chris Marker and the Archival Imperative: La Jetée: ciné-roman and Staring Back by Chris Marker and Chris Marker by Sarah Cooper

      Adam Trainer
      September 2009
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      Holly Willis
      May 2023
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      Sam Woolfe
      May 2023
    • For a Double-Edged Theory: Christian Metz’ Essais sur la signification au cinéma at 50

      Abel Muñoz Hénonin
      January 2023
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      Marc Raymond
      January 2023
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      Pujita Guha
      January 2023
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      Tom Boniface-Webb
      October 2022
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      Adam Trainer
      March 2011
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      Jacob Agius
      May 2023
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      Alex Williams
      May 2023
    • The Wayward Cloud (Tsai Ming-liang, 2005)

      Amelia Leonard
      May 2023
    • Goodbye, Dragon Inn (Tsai Ming-liang, 2003)

      Andrew Le
      May 2023
    • The Skywalk is Gone (Tsai Ming-liang, 2002)

      Digby Houghton
      May 2023
    • What Time is it There? (Tsai Ming-liang, 2001)

      Jessica Balanzategui
      May 2023
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Author Adam Trainer

Adam Trainer

Adam Trainer is currently working on his PhD in Media Studies at Murdoch University. His thesis is called "Rock'N'Roll Cinema" and concerns the aesthetic synthesis and corporate saleability of popular music in cinema.

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“Well, I Wouldn’t Buy the Merchandise”: David Bowie as Postmodern Auteur

Adam Trainer
October 2003
Cinema and Music
Can a pop star be an auteur? Focusing on David Bowie's film roles of the 1980s, this essay argues that consistent themes and techniques recur in his work across a variety of media.

Established in Melbourne (Australia) in 1999, Senses of Cinema is one of the first online film journals of its kind and has set the standard for professional, high quality film-related content on the Internet.

Senses of Cinema was founded on stolen lands. We acknowledge the sovereignty of the Wurundjeri and Boon Wurrung people of the Kulin nation and support all Aboriginal people on their paths to self-determination.

 

© Senses of Cinema 2019

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César Albarrán-Torres • Amanda Barbour • Tara Judah • Abel Muñoz-Hénonin • Fiona Villella

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