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  • Dossiers
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      Is Ozu Slow?

      David Surman
      March 2000
      Feature Articles
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    • Film Criticism and the Grotesque: A Very American Tár & an Oz Elvis

      Laleen Jayamanne
      August 2023
    • The aesthetics and politics of melodrama, reconsidered: Delitto d’amore / Crime of Love

      Thomas Austin
      August 2023
    • Horse-People and White Voices: Neoliberalism and Race in Sorry to Bother You

      Thomas Austin
      May 2023
    • The Exorcism of Sinister Ghosts: Saralisa Volm’s The Silent Forest

      Peter Verstraten
      May 2023
    • Spectatorial Labour: The Political Vision of Sergei Loznitsa’s Documentaries

      Santasil Mallik
      May 2023
    • 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
  • Interviews
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      Nature of Keeping Awake: Hanif Kureishi and Collaborative Film-Making

      David Surman
      November 2000
      Interviews
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    • “Can You Prefigure Reality?”: A Conversation with Christoph Hochhäusler on his new film, Bis ans Ende der Nacht (Till the End of the Night)

      Marco Abel
      August 2023
    • The Klezmer Project (Adentro Mío Estoy Bailanado): A Conversation with Leandro Koch and Paloma Schachmann

      Maria Giovanna Vagenas
      August 2023
    • Chunky Shrapnel: A Conversation with John Angus Stewart

      C.S. Harper
      August 2023
    • A Cinematic Sojourn to the Land of Awe and Astonishment: Interview with Laura Citarella about El Pampero Cine and Trenque Lauquen

      Hamed Sarrafi
      August 2023
    • Here: An Interview with Bas Devos

      Maria Giovanna Vagenas
      May 2023
    • A Different Kind of Love Story: An Interview with Dustin Guy Defa

      Brigitta Wagner
      May 2023
  • Great Directors
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    • Clarke, Alan

      David Surman
      October 2005
      Great Directors
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      Jeremy Carr
      May 2023
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      Benjamin Kooyman
      May 2023
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      Sherry Johnson
      January 2023
    • Cimino, Michael

      Giampiero Frasca
      January 2023
    • Sorrentino, Paolo

      Jeremy Carr
      October 2022
    • Craven, Wes

      Hal Young
      October 2022
  • Great Actors
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      David Surman
      May 2022
      Great Actors
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      Eloise Ross
      August 2023
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      Wheeler Winston Dixon
      May 2023
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      Jacob Agius
      October 2022
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      Joy McEntee
      May 2022
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      Jeremy Carr
      May 2022
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      Mark Lager
      May 2022
  • Festival Reports
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    • Inside and Out: The 8th AniFest: International Festival of Animated Films

      David Surman
      July 2009
      Festival Reports
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    • Towards A Domestic Cinephilia: The 24th Jeonju International Film Festival

      Marc Raymond
      August 2023
    • Direct Cinephilia: Play-Doc 2023

      Fedor Tot
      August 2023
    • Stardust chronicle, a report from the 69th Internationale Kurzfilmtage Oberhausen

      Arindam Sen
      August 2023
    • Rising from the ashes: The 47th Hong Kong International Film Festival

      Maja Korbecka
      August 2023
    • The 22nd Transilvania International Film Festival: Open-world Stimulations

      Peter Virginas
      August 2023
    • Searching for Eros: the 76th Cannes Film Festival

      Savina Petkova
      August 2023
  • Book Reviews
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    • Baz Luhrmann by Pam Cook

      David Surman
      October 2011
      Book Reviews
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    • The Rebellious and the Rigorous: The Red Years of Cahiers du cinéma (1968-1973), by Daniel Fairfax

      Tony McKibbin
      August 2023
    • A Journey through Serge Daney’s Cinema House

      Emmanuel Bonin
      August 2023
    • Bloody, Raging Females: Five Books Examine Contemporary Feminist Horror Films

      Holly Willis
      May 2023
    • Cinematic Bottom-Feeding: Why It’s OK to Love Bad Movies, by Matthew Strohl

      Sam Woolfe
      May 2023
    • 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
  • CTEQ
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    • The Masquerade is Over: Billy Wilder’s The Private Life of Sherlock Holmes (1970)

      David Surman
      April 2020
      CTEQ Annotations on Film
    Recent
    • Czechoslovakia’s King and Queen of Comedy: Anny Ondra and Vlasta Burian in An Old Gangster’s Molls (Svatopluk Innermann, 1927)

      Shari Kizirian
      September 2023
    • It’s About Time We All Met a Happy End (Oldřich Lipský, 1967)

      Cerise Howard
      September 2023
    • Heave Ho! (Martin Frič, 1934)

      Faith Everard
      September 2023
    • Tomorrow I’ll Wake Up and Scald Myself with Tea (Jindřich Polák, 1977)

      Danica van de Velde
      September 2023
    • The Woman Suffers: “South Australia’s greatest film production” (Raymond Longford, 1918)

      Stephen Gaunson
      September 2023
    • The Sentimental Bloke (Raymond Longford, 1919)

      Darragh O’Donoghue
      September 2023
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Author David Surman

David Surman

David Surman is an artist and filmmaker based in London.

Superflat Monogram (2004)

A Networked Daydream: Takashi Murakami’s Superflat Monogram (2004)

David Surman
March 2018
Alice in Wonderland
‘Who am I, then? Tell me that first …’ Lewis Carroll’s Alice’s Adventures in Wonderland stories are about many things, but their theme of strange identity resonates today. It makes sense that an artist interest...

The Jungle Book (Wolfgang Reitherman, 1967)

David Surman
March 2017
Love Letters: 1967
Old Men and Animal Dreamers: The Jungle Book (Wolfgang Reitherman, 1967) The production of feature animated films emerged from a series of risky gambles that distinguished Walt Disney and his company from comp...
Les Astronautes

Sleepless Satellites: Walerian Borowczyk’s Les astronautes (1959)

David Surman
June 2016
CTEQ Annotations on Film
It’s 1958 and scientists and engineers are in the final stages of launch preparation on Florida’s Cape Canaveral. The weather is unseasonably cold for January, but the Explorer 1 satellite — America’s response ...

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.

 

© Senses of Cinema 2019

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César Albarrán-Torres • Amanda Barbour • Tara Judah • Abel Muñoz-Hénonin • Fiona Villella

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