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  • Dossiers
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      Living Life as an Opera Lover: On the Uses of Opera as Musical Accompaniment in Woody Allen’s Match Point

      Dag Sødtholt
      July 2006
      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
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    • The Plains: Conversation with David Easteal

      Dag Sødtholt
      July 2022
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      Tara Judah
      January 2023
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      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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    • Mann, Anthony

      Dag Sødtholt
      January 2003
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      Sherry Johnson
      January 2023
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      Giampiero Frasca
      January 2023
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      Jeremy Carr
      October 2022
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      Hal Young
      October 2022
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      Sara Delshad
      October 2022
    • Smith, Jack: Travails of an Underground Artist

      Sanya Osha
      May 2022
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      Dag Sødtholt
      May 2022
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      Jacob Agius
      October 2022
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      Wheeler Winston Dixon
      May 2022
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      Jeremy Carr
      May 2022
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      Mark Lager
      May 2022
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      Jessica Balanzategui
      January 2022
  • Festival Reports
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    • Open Your Ears: The Sound of Music, Talking, and Foley at the 3rd Annual Jornada Brasileira de Cinema Silencioso

      Dag Sødtholt
      December 2009
      Festival Reports
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    • Fire Within: The 60th Viennale

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

      Kohei Usuda
      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 Adventure of the Real: Jean Rouch and the Craft of Ethnographic Cinema by Paul Henley

      Dag Sødtholt
      September 2013
      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
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    • The Last Command: Josef von Sternberg’s Life and Death of a Russian Extra

      Dag Sødtholt
      February 2012
      CTEQ Annotations on Film
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    • I Remember: Amarcord (Federico Fellini, 1973)

      Jacob Agius
      February 2023
    • 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
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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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