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      Renoir and the Scandal of “First Love” or The Perils of Catherine

      Daniel Eisenberg
      February 2005
      Feature Articles
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    • Bigger than life, or stranger: Pedro Costa’s Vitalina Varela: Part II

      Thomas Austin
      May 2022
    • Fire Machines: Titane and the Pyrotechnics of Love

      Emmalea Russo
      May 2022
    • Cringing Violently: Reparative Watching, Phenomenology and Discomfort in Australian Cinema

      Caitlin Wilson
      May 2022
    • Deleuzian Rumblings: Residue by Desire Machine Collective

      Vedant Srinivas
      May 2022
    • Acts of Faith: On Benedetta (Paul Verhoeven, 2021)

      Peter Verstraten
      May 2022
    • ‘Is The Power of the Dog a New Zealand film? National Identity, Genre and Jane Campion’

      Alfio Leotta & Missy Molloy
      May 2022
  • Interviews
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    • Sunken Film: Bill Morrison Talks The Village Detective: a song cycle

      Daniel Eisenberg
      July 2021
      Interviews
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    • 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
    • The Creative Leap to Fluid Consciousness: An Encounter with Ashley McKenzie

      Brigitta Wagner
      May 2022
    • Interview with Albert Birney & Kentucker Audley

      Nolan Kelly
      May 2022
  • Great Directors
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    • Verhoeven, Paul

      Daniel Eisenberg
      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
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    • Lansbury, Angela

      Daniel Eisenberg
      May 2022
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      Wheeler Winston Dixon
      May 2022
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      Jeremy Carr
      May 2022
    • Magee, Patrick

      Mark Lager
      May 2022
    • Cage, Nicolas

      Jessica Balanzategui
      January 2022
  • Festival Reports
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    • Eclectic and Open to the World: The 9th Annual Paris Cinema Festival

      Daniel Eisenberg
      October 2011
      Festival Reports
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    • Day by Day: IFFR 2022

      Madeleine Collier
      May 2022
    • Stuck in traffic: IFFR 2022

      Tara Judah
      May 2022
    • Absence and Presence at Internationale Kurzfilmtage Oberhausen. 68.

      Tara Judah
      May 2022
    • From Within the Umbra of History: A Few Things about the Films of Rainer Komers, Sohrab Hura and Sylvia Schedelbauer

      Anuj Malhotra
      May 2022
    • Film Goes On (?): The 23rd Jeonju International Film Festival

      Marc Raymond
      May 2022
    • Play-Doc 2022: António Campos, a secret filmmaker

      Ricardo Vieira Lisboa
      May 2022
  • Book Reviews
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    • Beyond Green: Ecocinema Theory and Practice, edited by Stephen Rust, Salma Monani and Sean Cubitt

      Daniel Eisenberg
      June 2013
      Book Reviews
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    • 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
    • Foraging in a Transforming Mediascape: Cinemas Dark and Slow in Digital India, by Lalitha Gopalan

      Megan Carrigy
      July 2021
  • CTEQ
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      Bresson

      Daniel Eisenberg
      June 2000
      CTEQ Annotations on Film
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    • 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
    • Fritz Lang’s Spione (1928)

      Shari Kizirian
      May 2022
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Author Daniel Eisenberg

Daniel Eisenberg

Daniel Eisenberg is a PhD candidate at the Australian National University. His thesis is an explorative study navigating and negotiating the idea of the “Australian Western”. Other areas of academic interest include graphic novels on screen, American cinema and documentary. He is also a trained film archivist and projectionist, sporadic film reviewer and insatiable fan of all things cinema.

“A little piece of a big, big universe”: Beasts of the Southern Wild

Daniel Eisenberg
July 2012
2012 MIFF Dossier
“The whole universe depends on everything fitting together just right. If one piece busts, even the smallest piece, the entire universe will get busted.” - Hushpuppy (Quvenzhané Wallis) in Beasts of the Southe...

Wizards and Robots and Movies, Oh My! A comparative review of Keith M. Johnston’s Science Fiction Film and James Walter’s Fantasy Film

Daniel Eisenberg
June 2012
Book Reviews
Keith M. Johnston’s Science Fiction Film: a Critical Introduction is dedicated to his parents because they helped him become a science fiction fan and scholar (p. xi). They took him to the films, bought him t...

Schepisi’s Celluloid Australia

Daniel Eisenberg
October 2011
Fred Schepisi Dossier
Fred Schepisi has been labeled as a “major force in the Australian film industry” (1). Two of the three features he has made in Australia prior to this year – The Devil’s Playground (1976) and Evil Angels (aka ...

Real and Reel: The Education of a Film Obsessive and Critic by Brian McFarlane

Daniel Eisenberg
June 2011
Book Reviews
Self-identified “filmophile” Brian McFarlane opens his “touch of the memoirs” at age ten, reminiscing about reviewing films he had never seen – something he never let stand in his way. I must state, at the open...

The Camera in the Iron Helmet: Ned Kelly (Gregor Jordan, 2003)

Daniel Eisenberg
March 2011
Key Moments in Australian Cinema
Mark Juddery has claimed that, without film, Edward “Ned”Kelly could not be the national icon he is today (1). When viewing Kelly’s cinematic legacy, it is hard to disagree. Kelly has appeared on the big screen...

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