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      Danica van de Velde
      July 2012
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      May 2023
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      Peter Verstraten
      May 2023
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      Santasil Mallik
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      Khatuna Maisashvili
      January 2023
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      Laleen Jayamanne
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      Exploring the Liminal Space between Selection and Curation: 61. Internationale Kurzfilmtage Oberhausen

      Danica van de Velde
      June 2015
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      Sian Mitchell
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      Will DiGravio
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      Carmen Gray
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      Tara Judah
      May 2023
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      Jay Kuehner
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      Bérénice Reynaud
      May 2023
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      From Leotards to Lyotard: Pandora’s Box: Essays in Film Theory by Barbara Creed

      Danica van de Velde
      July 2004
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      Holly Willis
      May 2023
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      Sam Woolfe
      May 2023
    • For a Double-Edged Theory: Christian Metz’ Essais sur la signification au cinéma at 50

      Abel Muñoz Hénonin
      January 2023
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      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
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      Tom Boniface-Webb
      October 2022
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      Danica van de Velde
      February 2013
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      Jacob Agius
      May 2023
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      Alex Williams
      May 2023
    • The Wayward Cloud (Tsai Ming-liang, 2005)

      Amelia Leonard
      May 2023
    • Goodbye, Dragon Inn (Tsai Ming-liang, 2003)

      Andrew Le
      May 2023
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      Digby Houghton
      May 2023
    • What Time is it There? (Tsai Ming-liang, 2001)

      Jessica Balanzategui
      May 2023
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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...
Still Life

An Archaeology of the Filmic Essay: Untangling Harun Farocki’s Still Life (1997)

Danica van de Velde
September 2016
CTEQ Annotations on Film
From the opening moments of Harun Farocki’s Stilleben (Still Life, 1997), the viewer is charged with not merely unconsciously accepting what is placed in their line of vision, but actively interrogating each im...

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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