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    • Sounds from the City in Film Noir

      Ben Kooyman
      April 2012
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    • A Face in the Crowd: Ritual, Mythological and Political contexts in Stranger and the Fog

      Amir Hossein Siadat
      November 2023
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      Tyler Thier
      November 2023
    • We Can’t Save The Victims: Hauntology in Tony Scott’s Déjà Vu

      Aryan Tauqeer Khawaja
      November 2023
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      Oliver Kenny
      November 2023
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      Frankie Kanatas
      November 2023
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      Laleen Jayamanne
      August 2023
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      Ben Kooyman
      January 2022
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      Gary M. Kramer
      November 2023
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      Mike Hoolboom
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      Amanda Barbour
      November 2023
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      Amanda Barbour
      November 2023
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      Öykü Sofuoğlu
      November 2023
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      Jaimey Fisher & Gerd Gemünden
      November 2023
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      Ben Kooyman
      May 2002
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      Deborah Allison
      November 2023
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      Jeremy Carr
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      Jeremy Carr
      May 2023
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      Benjamin Kooyman
      May 2023
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      Sherry Johnson
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      Giampiero Frasca
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      Ben Kooyman
      January 2022
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      November 2023
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      August 2023
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      Jacob Agius
      October 2022
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      Joy McEntee
      May 2022
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    • “The Cinema Leads Me There”: the 41st International Film Festival Rotterdam

      Ben Kooyman
      March 2012
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      Xiang Fan
      November 2023
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      Roger Macy
      November 2023
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      Jonathan Mackris
      November 2023
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      Roger Macy
      November 2023
    • Dealing with the past, and present, at the 29th Sarajevo Film Festival

      Randy Malamud
      November 2023
    • 76th Locarno Film Festival: Culture on the Edge, Tumbling Into Futures Unknown

      Jaimey Fisher
      November 2023
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      More Rapture! The Big Screen: The Story of the Movies and What They Did To Us by David Thomson

      Ben Kooyman
      September 2013
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    • Facing the Other: Keyvan Manafi’s The Eye of the Cinematograph: Levinas and Realisms of the Body

      M. Sellers Johnson
      November 2023
    • A Man of Genius Has Been Seldom Ruined But By Himself: Ethan Warren’s The Cinema of Paul Thomas Anderson

      Hannah Bonner
      November 2023
    • The Rebellious and the Rigorous: The Red Years of Cahiers du cinéma (1968-1973), by Daniel Fairfax

      Tony McKibbin
      August 2023
    • A Journey through Serge Daney’s Cinema House

      Emmanuel Bonin
      August 2023
    • Bloody, Raging Females: Five Books Examine Contemporary Feminist Horror Films

      Holly Willis
      May 2023
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      Sam Woolfe
      May 2023
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      Ben Kooyman
      March 2011
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      Martyn Bamber
      December 2023
    • History and Oblivion: Radu Jude tells a “new” story an old way with Aferim!

      Shari Kizirian
      December 2023
    • Silver City

      Grace Boschetti
      November 2023
    • The Golden Cage: Ayten Kuyululu and Australian Cinema

      Adrian Danks
      November 2023
    • Twice a Man

      Darragh O’Donoghue
      November 2023
    • A Rainha Diaba

      Mateus Nagime
      November 2023
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Author Ben Kooyman

Ben Kooyman

Dr Ben Kooyman studied at Flinders University and has published extensively on Shakespeare, film, comics, and Australian cinema. He currently teaches at the Australian National University.

Fourteen’s Good, Eighteen’s Better (Gillian Armstrong, 1980)

Ben Kooyman
April 2021
CTEQ Annotations on Film
Since the success of My Brilliant Career (1979), Gillian Armstrong has become somewhat synonymous with period cinema, an association borne out by her subsequent Hollywood work (Mrs Soffel, 1984; Little Women, 1...

Starstruck (Gillian Armstrong, 1982)

Ben Kooyman
April 2020
CTEQ Annotations on Film
Pauline Kael, the great American film critic, was decidedly lukewarm on Australian cinema. In an interview with Cinema Papers, she elaborated that “Most Australian films are terribly well done”, but “There is a...

Beneath Clouds (Ivan Sen, 2002)

Ben Kooyman
October 2019
CTEQ Annotations on Film
In the twentieth century, many of the most notable depictions of Indigenous Australians and their culture in feature films were steered by white filmmakers: see, for example, Jedda (Charles Chauvel, 1955), Walk...

Blue Steel (Kathryn Bigelow, 1990)

Ben Kooyman
July 2019
CTEQ Annotations on Film
Kathryn Bigelow has defied expectations throughout her unorthodox career: the co-director of arthouse biker movie The Loveless (1981) also helmed the most expensive (for its time) film from a female director, K...

The Twilight Zone: “The Masks” (Ida Lupino, 1964)

Ben Kooyman
October 2018
CTEQ Annotations on Film
Credit for the genius of the original series of The Twilight Zone is routinely attributed to its droll, visionary chain-smoking architect Rod Serling – a 1950s equivalent of today’s Social Justice Warrior, who ...
Navajo Joe

Navajo Joe (Sergio Corbucci, 1966)

Ben Kooyman
June 2018
CTEQ Annotations on Film
Among his many claims to fame, Marlon Brando was noteworthy as a supporter of Native American heritage and civil rights, famously sending activist Sacheen Littlefeather to the 45th Academy Awards ceremony to pu...
After Hours

Work-for-Hire Juvenilia: After Hours (Jane Campion, 1984)

Ben Kooyman
September 2017
CTEQ Annotations on Film
Jane Campion’s After Hours (1984) was developed in partnership with the Women’s Film Unit of Film Australia. This is a virtually forgotten entry in Campion’s filmography; while the short works helmed during her...

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.

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