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      Sydney Pollack: A Personal Recollection

      Anton Bitel
      August 2008
      Feature Articles
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    • 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
    • Values of Baz Luhrmann’s Elvis: A Carnival Ride

      Laleen Jayamanne
      January 2023
    • Fellini’s Memory: Amarcord

      Bruce Jackson
      January 2023
    • More than Mimicry: On Puppets and Interdependency in Annette and The Double Life of Véronique

      Indigo Bailey
      January 2023
    • After Structural Film: The Conceptual films of Morgan Fisher

      Arindam Sen
      January 2023
    • This Body Keeps the Score: the films of Saidin Salkic

      Dirk de Bruyn
      January 2023
  • Interviews
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    • Pom Bunsermvicha interview: “Being part of a family“

      Anton Bitel
      January 2022
      Interviews
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    • Splice Here A Projected Odyssey: An Interview with Rob Murphy

      Tara Judah
      January 2023
    • Piaffe: Interview with Ann Oren

      Maria Giovanna Vagenas
      January 2023
    • Flesh Memories: Yeo Siew Hua’s Expanded Cinema in The Once and Future

      Toby Wu
      January 2023
    • In Search of Lost Time: An Interview with Christophe Honoré

      David A. Gerstner
      January 2023
    • Slow Fireworks: The Films of Amy Halpern

      Arindam Sen
      January 2023
    • About Time: Interview with Cyril Schäublin

      Hamed Sarrafi
      January 2023
  • Great Directors
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    • Menzel, Jiří

      Anton Bitel
      October 2020
      Great Directors
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    • Fosse, Bob

      Sherry Johnson
      January 2023
    • Cimino, Michael

      Giampiero Frasca
      January 2023
    • Sorrentino, Paolo

      Jeremy Carr
      October 2022
    • Craven, Wes

      Hal Young
      October 2022
    • Dwoskin, Stephen

      Sara Delshad
      October 2022
    • Smith, Jack: Travails of an Underground Artist

      Sanya Osha
      May 2022
  • Great Actors
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    • Magee, Patrick

      Anton Bitel
      May 2022
      Great Actors
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    • Divine

      Jacob Agius
      October 2022
    • Lansbury, Angela

      Joy McEntee
      May 2022
    • Caine, Michael

      Wheeler Winston Dixon
      May 2022
    • Garbo, Greta

      Jeremy Carr
      May 2022
    • Cage, Nicolas

      Jessica Balanzategui
      January 2022
  • Festival Reports
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    • A Tribute to Éric Rohmer: The 26th Belfort International Film Festival

      Anton Bitel
      December 2011
      Festival Reports
    Recent
    • Fire Within: The 60th Viennale

      Leonardo Goi
      January 2023
    • Politics, Isolation, Pandemic: The 35th Tokyo International Film Festival

      Kohei Usuda
      January 2023
    • The Kids Aren’t Alright: The 27th Busan International Film Festival

      Marc Raymond
      January 2023
    • A Report on the Exhibition Threshold (works by Dirk de Bruyn, Guy Grabowsky & Mat Hughes)

      Glenn D'Cruz
      January 2023
    • All the Pain and Exploitation: 66th London Film Festival

      Tara Judah
      January 2023
    • BABY, THE RAIN MUST FALL … on the Claude Sautet retrospective at the 70th San Sebastian International Film Festival

      Neil Young
      January 2023
  • Book Reviews
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    • The Newest New Wave: New Austrian Film edited by Robert von Dassanowsky and Oliver C. Speck

      Anton Bitel
      March 2012
      Book Reviews
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    • For a Double-Edged Theory: Christian Metz’ Essais sur la signification au cinéma at 50

      Abel Muñoz Hénonin
      January 2023
    • Dennis Lim’s Tale of Cinema: A Meta-Monograph

      Marc Raymond
      January 2023
    • In search of a Global Filipino Auteur: Sine ni Lav Diaz, edited by Parichay Patra and Micheal Kho Lim

      Pujita Guha
      January 2023
    • Philosophy for the Blockbuster Audience: Christopher Nolan: Filmmaker and Philosopher, by Robbie B. H. Goh

      Tom Boniface-Webb
      October 2022
    • Do we need Digital Tarkovsky?

      Corey P. Cribb
      October 2022
    • Trafic at 30, End of a Film Journal

      Emmanuel Bonin
      July 2022
  • CTEQ
    Random
    • Fragmented Subjectivity and Narrative Deconstruction in Three Lives and Only One Death

      Anton Bitel
      August 2012
      CTEQ Annotations on Film
    Recent
    • The Lure (Agnieszka Smoczyńska, 2015)

      Faith Everard
      December 2022
    • Othering Heights: The Queerest of the Queer in Rosa von Praunheim’s City of Lost Souls (1983)

      Cerise Howard
      December 2022
    • To walk away, you gotta leave something behind, or a long story short: Hedwig and the Angry Inch (2001)

      Cerise Howard
      December 2022
    • Lost Paradise: F.W. Murnau’s Tabu: A Story of the South Seas (1931)

      Andréas Giannopoulos
      November 2022
    • Nosferatu: Eine Symphonie des Grauens (Nosferatu: A Symphony of Horror, F.W. Murnau, 1922)

      Martyn Bamber
      November 2022
    • Sunrise: A Song of Two Humans (F.W. Murnau, 1927)

      Jacob Agius
      October 2022
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Author Anton Bitel

Anton Bitel

Anton Bitel lances free all over the place, blogs at ProjectedFigures.com and is still coming of age.

Rites of Passage, Fluidity and Metamorphoses: The Imagery of Education in Lucile Hadžihalilović’s Innocence, Evolution and Earwig

Anton Bitel
August 2022
The Natural Models of Lucile Hadžihalilović
Coming of age is often conceptualised in religious terms as a rite of passage and an initiation into adulthood, - and so Lucile Hadžihalilović's films figure themselves as ritualised mysteries, with children at...

Gender Divide in Diptych: Peter Strickland’s Berberian Sound Studio and The Duke of Burgundy

Anton Bitel
July 2019
The Analogues of Peter Strickland
The Berberian Sound Studio – a labyrinthine post-production complex in 1970s Italy to which all the events of Berberian Sound Studio are restricted – is a male world, and Peter Strickland's film traces the conf...
Gender Cattet and Forzani

The Gender(s) of Genre in Cattet and Forzani’s Ambisexual Cinema

Anton Bitel
June 2018
Split/Screen Cattet/Forzani
The strange cinematic experiments of Hélène Cattet and Bruno Forzani grow over the graves of departed genres. Their shorts and their first two features are loving pastiches of giallo, that lurid Italian detecti...
Hélène Cattet and Bruno Forzani interview

Fragments of Hélène Cattet and Bruno Forzani

Anton Bitel
June 2018
Split/Screen Cattet/Forzani
On 22 February 2018, Hélène Cattet and Bruno Forzani's Let the Corpses Tan was screened at Ciné Lumière in London's Institut Français Royaume-Uni, with the writer/directors in attendance. The following fragment...
The Dark Märchen Show!! (2009)

Alice in the Underworld: The Dark Märchen Show!! (Mari Terashima, 2009)

Anton Bitel
March 2018
Alice in Wonderland
In Alice's Adventures in Wonderland (1865) and Through the Looking-Glass, and What Alice Found There (1871), young Alice goes on a wide-eyed odyssey through the psychic flotsam and jetsam of nineteenth-century ...
Six Men Getting Sick

Six Men Getting Sick (David Lynch, 1967)

Anton Bitel
March 2017
Love Letters: 1967
(H)e(r)metic Art Ad Nauseam: David Lynch's Six Men Getting Sick (1967)  Part of our makeup as social animals is that certain of our activities, when visualised, tend to create a mirror effect in the viewer. Se...

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