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  • Dossiers
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      “The Company of Magicians”: Orson Welles, Abb Dickson, Scarlet Plush, and Purple Hokum

      Dag Sødtholt
      July 2004
      Feature Articles
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    • Respecting the Lives of Others: Bergman Island, Hommage and Anaïs in Love

      Anthony McKibbin
      August 2022
    • Protestploitation ’70: Revisiting Zabriskie Point and Strawberry Statement

      Selen Ozturk
      July 2022
    • More than a Wink: The Nature of Reality in Blow-Up and Las Babas del Diablo

      Will Hair
      July 2022
    • Suicide and Genius: Insights into One Episode of Akira Kurosawa’s Dreams

      Matthew Michaud & Justin Richardson
      July 2022
    • Interrogating Identity: The Fractal Self in Le petit soldat

      Michael James Beck
      July 2022
    • Bigger than life, or stranger: Pedro Costa’s Vitalina Varela: Part III

      Thomas Austin
      July 2022
  • Interviews
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    • Information as a music video, comedy as a diagram: Beny Wagner & Sasha Litvintseva in conversation

      Dag Sødtholt
      May 2022
      Interviews
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    • “Resistance is the driving force of the film”: An Interview with Davy Chou

      Maja Korbecka
      July 2022
    • The Plains: Conversation with David Easteal

      Maria Giovanna Vagenas
      July 2022
    • Human is only human when vulnerable: An Interview With Michel Franco

      Savina Petkova
      May 2022
    • ‘I Was Taunting the Western’: An Interview with Alejandra Márquez Abella

      Silvia Spitta & Gerd Gemünden
      May 2022
    • “The Act of Filming is an Inner and Physical Journey in Itself”: Interview with Helke Misselwitz

      Victor Paz
      May 2022
    • The Creative Leap to Fluid Consciousness: An Encounter with Ashley McKenzie

      Brigitta Wagner
      May 2022
  • Great Directors
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    • Schroeter, Werner

      Dag Sødtholt
      January 2003
      Great Directors
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    • Smith, Jack: Travails of an Underground Artist

      Sanya Osha
      May 2022
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      Darragh O’Donoghue
      May 2022
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      Jeremy Carr
      January 2022
    • Lau, Kar-leung

      Tom Cunliffe
      January 2022
    • Tahimik, Kidlat 

      Charles Fairbanks
      January 2022
    • Lucas, George

      Dan Golding
      July 2021
  • Great Actors
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    • Magee, Patrick

      Dag Sødtholt
      May 2022
      Great Actors
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    • 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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      Circling Back: The Avant-Garde Looks to the Past, and Other Small (But Substantial) Pleasures: The 37th International Film Festival Rotterdam

      Dag Sødtholt
      August 2008
      Festival Reports
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    • Sundance Film Festival 2022

      Bérénice Reynaud
      August 2022
    • Is this the real life? Is this just fantasy? The 56th Karlovy Vary International Film Festival

      Cerise Howard
      August 2022
    • Normality: The 2022 Cannes Film Festival

      Daniel Fairfax
      August 2022
    • 36th Cinema Ritrovato Gets Covid in the Tail

      Roger Macy
      July 2022
    • Keeping the Fires Burning: A Week at the San Francisco Silent Film Festival

      Jonathan Mackris
      July 2022
    • New Territories and Old Dreams of Independence – Chinese and Hong Kong documentaries at the Taiwan International Documentary Festival

      Judith Pernin
      July 2022
  • Book Reviews
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      The Spectacle of the Real: From Hollywood to “Reality” TV and Beyond edited by Geoff King

      Dag Sødtholt
      October 2005
      Book Reviews
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    • Trafic at 30, End of a Film Journal

      Emmanuel Bonin
      July 2022
    • How to Do Things with Camera Movement: The Lure of the Image: Epistemic Fantasies of the Moving Camera, by Daniel Morgan

      Kyle Barrowman
      May 2022
    • The Depths of Empiricism: Werner Herzog: Ecstatic Truth and Other Useless Conquests, by Kristoffer Hegnsvad

      Tony McKibbin
      January 2022
    • Hollywood, Reinvented: Shooting Midnight Cowboy: Art, Sex, Loneliness, Liberation, and the Making of a Dark Classic, by Glenn Frankel

      Elroy Rosenberg
      January 2022
    • Rhythm and Light: Poetic Cinema and the Spirit of the Gift in the Films of Pabst, Parajanov, Kubrick, and Ruiz, by Laleen Jayamanne

      Steven Shaviro
      July 2021
    • West Side Story Redux: West Side Story: The Jets, the Sharks, and the Making of a Classic, by Richard Barrios

      Adrian Schober
      July 2021
  • CTEQ
    Random
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      Dragnet Girl (Hijosen no onna)

      Dag Sødtholt
      July 2004
      CTEQ Annotations on Film
    Recent
    • Shadows of Forgotten Ancestors (Sergei Parajanov, 1965)

      Wheeler Winston Dixon
      July 2022
    • Shockproof (Douglas Sirk, 1949): The Insanity of Romantic Desire

      Wheeler Winston Dixon
      May 2022
    • The Grotesque Loves of Jealousy, Italian Style (Ettore Scola, 1970)

      Tiia Kelly
      May 2022
    • A Geography of Fractured Desire: Michelangelo Antonioni’s L’eclisse (1962)

      Danica van de Velde
      May 2022
    • Il Deserto Rosso (Red Desert, Michelangelo Antonioni, 1964)

      Boyd van Hoeij
      May 2022
    • ‘You Can’t Make an Omelette…’ – Modesty Blaise (Joseph Losey, 1966) and the Art of Breaking Eggs

      David Melville
      May 2022
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Author Dag Sødtholt

Dag Sødtholt

Dag Sødtholt is a Norwegian film critic specialising in East Asian cinema, from Mizoguchi to Hou Hsiao-hsien.

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The Complexity of Minimalism: Hou Hsiao-hsien’s Three Times

Dag Sødtholt
May 2006
Special Dossiers, Spotlight on Hou Hsiao-hsien
Arguably, after a period of transition represented by Millennium Mambo and Café Lumière, Hou’s Three Times may represent a new plateau in his work.
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Sound of the Mountain: The Beauty of Pessimism

Dag Sødtholt
November 2001
CTEQ Annotations on Film
Sound of the Mountain (1954 Japan 94mins) 35mm Source: Heritage Prod Co: Toho Dir: Mikio Naruse Scr: Yoko Mizuki from the novel by Yasunari Kawabata Phot: Masao Tamai Art Dir: Satoshi Chuko Mus: Ichiro S...

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.

 

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

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