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    • Occupied Territory and Abolitionist Freeze Frames: Haile Gerima’s Bush Mama

      David Heslin
      July 2021
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      Vedant Srinivas
      May 2022
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      Peter Verstraten
      May 2022
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      Emmalea Russo
      May 2022
    • ‘Is The Power of the Dog a New Zealand film? National Identity, Genre and Jane Campion’

      Alfio Leotta & Missy Molloy
      May 2022
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      Ricardo Vieira Lisbo
      May 2022
    • Cringing Violently: Reparative Watching, Phenomenology and Discomfort in Australian Cinema

      Caitlin Wilson
      May 2022
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      David Heslin
      July 2019
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      Silvia Spitta & Gerd Gemünden
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      Victor Paz
      May 2022
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      Anonymous
      May 2022
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      Nolan Kelly
      May 2022
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      Brigitta Wagner
      May 2022
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      Madeleine Collier
      May 2022
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      December 2002
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      Sanya Osha
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      Darragh O’Donoghue
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      Jeremy Carr
      January 2022
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      Charles Fairbanks
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      Dan Golding
      July 2021
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      Jessica Balanzategui
      January 2022
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      April 2020
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      Madeleine Collier
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      Tara Judah
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      Tara Judah
      May 2022
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      Anuj Malhotra
      May 2022
    • Film Goes On (?): The 23rd Jeonju International Film Festival

      Marc Raymond
      May 2022
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      Jay Kuehner
      May 2022
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      David Heslin
      July 2020
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      Kyle Barrowman
      May 2022
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      Tony McKibbin
      January 2022
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      Elroy Rosenberg
      January 2022
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      Steven Shaviro
      July 2021
    • West Side Story Redux: West Side Story: The Jets, the Sharks, and the Making of a Classic, by John Barrios

      Adrian Schober
      July 2021
    • Foraging in a Transforming Mediascape: Cinemas Dark and Slow in Digital India, by Lalitha Gopalan

      Megan Carrigy
      July 2021
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      Five Star Final

      David Heslin
      December 2003
      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 David Heslin

David Heslin

David Heslin edits Metro magazine. He formerly edited Screen Education and was a member of the Senses of Cinema editorial team.

Waiting for Rain: Oppression and Resistance in Youssef Chahine’s The Land (1970)

David Heslin
October 2020
CTEQ Annotations on Film
Al-ard (The Land, Youssef Chahine, 1970) begins and ends in the dirt. In its opening sequence, a hand is seen patting the soil around a young cotton plant before gently plucking a few leaves. In the final shot,...

The Second Generation: French Cinema After the New Wave (Introduction)

David Heslin
October 2018
The Second Generation: French Cinema After the New Wave
In the 1970s, French film was in a post-revolutionary phase. Not only had the work of the Cahiers du cinema acolytes and their Left Bank contemporaries over the previous decade made the country’s output a short...

Vampire Country: Sex and Psychoanalysis in the Films of Catherine Binet

David Heslin
October 2018
The Second Generation: French Cinema After the New Wave
In the film that bears her name, Countess Dolingen is on screen for less than a minute. She lies dead on a slab; then, as thunder rumbles and lightning flares, she rises and begins to sing. What we see in this ...

Art in Order: The Anatomy of a Film List

David Heslin
June 2018
Stardust Memories: Cinephilia and Nostalgia
Of all of the inanimate paraphernalia in my life, the thing that I treasure more than any other is effectively weightless. It is, in one sense, a geometric construction, composed solely of criss-crossing horizo...

Forgotten Dreams: The Tumultuous Life of Lou Bunin’s Alice in Wonderland (1949)

David Heslin
March 2018
Alice in Wonderland
Of all the films to have faced censorship battles in the English-speaking world, there are few as apparently innocuous as Alice au Pays des Merveilles (Alice in Wonderland, Lou Bunin, Dallas Bower and Marc Maur...
Not Reconciled

Blowing Up the Past: Danièle Huillet and Jean-Marie Straub’s Not Reconciled (1965)

David Heslin
September 2017
CTEQ Annotations on Film
“Opposition – a strange word, I don’t like it at all; it is such a grim reminder of times that I thought were over and done with.” At a time in which notions of middle ground and political equilibrium have onc...
The Junk Shop

The Ash Heap of Meaning: Juraj Herz’s The Junk Shop (1965)

David Heslin
June 2017
CTEQ Annotations on Film
“Pals, I don’t like it in football when it’s 6-0 or 5-1. That’s no drama. What I like is when the result’s 6-5 or 4-4 – in short, when the better team loses the match of a lifetime, in which they fail to conver...
Francisca

The God Anhedonia: Manoel de Oliveira’s Francisca

David Heslin
September 2016
CTEQ Annotations on Film
“Unhappiness is a form of renouncement; it has nothing to do with disgrace. She is the most torrid of lovers, and for her we’ll sacrifice everything.” Fifty years after he first filmed the daily activities of ...
Out 1

Manifest Spectres: An Interview with Robert Fischer on Jacques Rivette’s Out 1

David Heslin
July 2016
Jacques Rivette
It’s difficult to think of a harder film to sell than Jacques Rivette’s Out 1: Noli Me Tangere (1971). Over 12 hours long and devoid of an easily describable plot, Out 1 has spent nearly half a century as an el...
Petit á Petit

Exchange, exchange: Jean Rouch’s Petit à Petit

David Heslin
March 2016
CTEQ Annotations on Film
No outside figure has contributed more to the cinema of francophone West Africa than Jean Rouch. Yet, much as he devoted his life's work to subverting the power dynamics of the anthropological gaze, his influen...
Melbourne International Film Festival Review

Of Death Throes and Transitions: 2015 Melbourne International Film Festival

David Heslin
December 2015
Festival Reports
The final film I see at the 2015 Melbourne International Film Festival is Aleksei German’s Under Electric Clouds, a collection of gloomy vignettes set in a pre-apocalyptic Russia. Yes, I think you could call it...

The End is a Transition: Wim Wenders’ Alice in den Städten

David Heslin
October 2014
CTEQ Annotations on Film
“I had a funny dream: I turned on the TV set, and sat down in a chair. I tied myself to it. Then, suddenly, a scary movie came on. I couldn’t get away. I couldn’t turn off the TV. I couldn’t close my eyes, eith...

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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