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      Straub Anti-Straub

      Danica van de Velde
      May 2007
      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
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    • Mobilities Between Place, Sound and Image: An Interview with Ana Vaz

      Danica van de Velde
      May 2021
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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
    • Information as a music video, comedy as a diagram: Beny Wagner & Sasha Litvintseva in conversation

      Madeleine Collier
      May 2022
  • Great Directors
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      Danica van de Velde
      May 2003
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      Sanya Osha
      May 2022
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      Darragh O’Donoghue
      May 2022
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      Jeremy Carr
      January 2022
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      Tom Cunliffe
      January 2022
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      Charles Fairbanks
      January 2022
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      Dan Golding
      July 2021
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      Danica van de Velde
      May 2022
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      Joy McEntee
      May 2022
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      Wheeler Winston Dixon
      May 2022
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      Mark Lager
      May 2022
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      Jessica Balanzategui
      January 2022
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      A Report on the 2001 Brisbane International Film Festival

      Danica van de Velde
      September 2001
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      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
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    • Unrest (Grandrieux, 2017)

      An Alternative to Haptic Cinema: Philippe Grandrieux: Sonic Cinema, by Greg Hainge

      Danica van de Velde
      June 2018
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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
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    • Once Upon a Time…: Beauty and the Beast (Jean Cocteau, 1946)

      Danica van de Velde
      July 2020
      CTEQ Annotations on Film
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    • 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 Danica van de Velde

Danica van de Velde

Danica van de Velde is a writer based in Perth, Western Australia. Her writing on film has been published in a Dance Mag, Another Gaze and Screen Education, as well as the Refocus book collections on Michel Gondry and Susanne Bier. She was the recipient of the Senses of Cinema-Monash Essay Prize in 2019 for her essay on the cinematic self-adaptations of Marguerite Duras.

A Geography of Fractured Desire: Michelangelo Antonioni’s L’eclisse (1962)

Danica van de Velde
May 2022
CTEQ Annotations on Film
Michelangelo Antonioni’s L’eclisse (The Eclipse, 1962) opens rather enigmatically with the fatigued denouement of the relationship between the film’s central protagonist, Vittoria (Monica Vitti), and her former...

“She smelled of Tokyo”: Sensory connections in The Masseurs and a Woman (1938)

Danica van de Velde
April 2021
CTEQ Annotations on Film
A prolific filmmaker who reportedly directed over 150 films between 1924 and 1959, Hiroshi Shimizu has arguably received only a fraction of the critical and popular attention lavished upon his contemporaries. S...

Between Dreams and Death: Jean Cocteau’s Orpheus (1950)

Danica van de Velde
July 2020
CTEQ Annotations on Film
In Greek mythology, Orpheus is a talented musician who travels to the underworld to bring back his dead wife, Eurydice. Upon entering the realm of the undead, the mournful music that Orpheus sings and plucks fr...

Behind the Veil: The Nun (Jacques Rivette, 1966)

Danica van de Velde
January 2020
CTEQ Annotations on Film
In a 1968 interview with Cahiers du cinéma, former Cahiers editor-in-chief and filmmaker Jacques Rivette made the provocative comment that “the cinema is necessarily fascination and rape, that is how it acts on...

“Judge Tenderly of Me!”: Terence Davies’ Letter to Emily Dickinson in A Quiet Passion (2016)

Danica van de Velde
October 2019
CTEQ Annotations on Film
Terence Davies’ Emily Dickinson biopic A Quiet Passion (2016) opens with Miss Lyon (Sara Vertongen), the headmistress of Mount Holyoke Female Seminary, grimly reciting the options available to the seminary’s st...

Erosion by Desire: Marguerite Duras’ Self-Adaptations (Issue 88, October 2018)

Danica van de Velde
October 2019
Highlights from 20 years of Senses of Cinema
Originally published in Senses of Cinema issue 88, October 2018. Towards the end of Marguerite Duras’ 1969 film Détruire dit-elle (Destroy, She Said) – adapted from her novel of the same name published earli...

Close to You: Elaine May’s The Heartbreak Kid (1972)

Danica van de Velde
July 2019
CTEQ Annotations on Film
Elaine May opens her second feature film, The Heartbreak Kid (1972), by compressing the full cycle of courtship into three minutes. From the film’s smarmy protagonist, Lenny (Charles Grodin), rehearsing his sed...

Tender Restraint: Tokyo Twilight (Yasujirō Ozu, 1957)

Danica van de Velde
March 2019
CTEQ Annotations on Film
A man’s hat left forgotten on a wall hook in a laneway izakaya; a bottle of whisky lit by lamplight on a desk piled with mountains of books; a plume of steam rising from the spout of a metal teapot; the consist...

Fractured Images and Tainted Dreams: Sergio Leone’s Once upon a Time in America

Danica van de Velde
February 2019
CTEQ Annotations on Film
Towards the end of Sergio Leone’s opening sequence in Once upon a Time in America (1984), the film’s protagonist, David “Noodles” Aaronson (Robert De Niro), flees to a bus station where he buys a one-way ticket...

Erosion by Desire: Marguerite Duras’ Self-Adaptations

Danica van de Velde
October 2018
The Second Generation: French Cinema After the New Wave
Towards the end of Marguerite Duras’ 1969 film Détruire dit-elle (Destroy, She Said) – adapted from her novel of the same name published earlier that year – a conversation between two of the characters takes on...

Death Rides a Horse (Giulio Petroni, 1967)

Danica van de Velde
June 2018
CTEQ Annotations on Film
Met with an overwhelming number of lukewarm reviews upon its original cinematic release, and consistently relegated to little more than a footnote in the history of the spaghetti western genre, Giulio Petroni’s...

“From the first bottle to the first kiss”: François Truffaut’s Small Change (1976)

Danica van de Velde
March 2018
CTEQ Annotations on Film
Arguably one of the most enduring images in the cinema of François Truffaut is the freeze frame that concludes his first feature-length film, Les quatre cents coups (The 400 Blows, 1959). Following an escape fr...

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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© Senses of Cinema 2019

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