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      Chuck Jones Tribute

      Dee Jefferson
      March 2002
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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
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      Dee Jefferson
      May 2022
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      May 2022
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      Victor Paz
      May 2022
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      Madeleine Collier
      May 2022
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      Nolan Kelly
      May 2022
    • The Creative Leap to Fluid Consciousness: An Encounter with Ashley McKenzie

      Brigitta Wagner
      May 2022
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      Dee Jefferson
      May 2021
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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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      Tom Cunliffe
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      Charles Fairbanks
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      Dan Golding
      July 2021
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      Dee Jefferson
      May 2022
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      Jeremy Carr
      May 2022
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      Jessica Balanzategui
      January 2022
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      The 11th Melbourne Queer Film Festival Reviewed

      Dee Jefferson
      April 2001
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      Madeleine Collier
      May 2022
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      Tara Judah
      May 2022
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      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
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      The Grocer Who Dreams: Postcards from the Cinema by Serge Daney

      Dee Jefferson
      August 2007
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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
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      La Glace à trois faces

      Dee Jefferson
      November 2006
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      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 Dee Jefferson

Dee Jefferson

Dee Jefferson is the Arts and Culture Editor of Time Out Sydney. She was previously Arts and Film Editor of Sydney street press publication The Brag (2009-2013). She founded and directed the Reelife Short Film Festival (2001-2005), was part of the Berlinale Talent Press (2005), and worked as Researcher and Materials Coordinator at Sydney Film Festival (2008). She has been talking and writing about film for over ten years and for various outlets, including ABC 702, Inside Film, Filmink, Time Out Sydney and Beat (Melbourne) – and still finds The Big Lebowski and Withnail & I to be Pretty Fucking Amazing on a regular basis.

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Now We are 60: Where are We? The 60th Sydney Film Festival

Dee Jefferson
September 2013
Festival Reports
Unless you’ve worked inside the machine, it’s impossible to be aware of, let alone understand, the politics of the modern film festival. But it’s impossible not to wonder a little bit about what goes on, when o...

The Best of All Possible Worlds: The 4th Possible Worlds Canadian Film Festival

Dee Jefferson
April 2009
Festival Reports
  20-26 August 2008 Sydney The obvious coups for the programmers of this year’s Canadian Film Festival were L’Âge des Ténèbres (Days of Darkness), Denys Arcand’s new film, and Guy Maddin’s My Winn...
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Six Degrees of Separation: The Small Possible Worlds of Canadian Film: The 2nd Possible Worlds Film Festival

Dee Jefferson
May 2008
Festival Reports
29 November – 5 December 2007 Possible Worlds, Sydney’s Canadian Film Festival has, unforeseeably, become amongst the best of the city’s burgeoning annual “international” film festivals, which include th...

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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