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  • Dossiers
  • Features
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    • Rules of the Game: Watching the World Cup Final in a Tehran Cinema

      Eloise Ross
      October 2010
      Feature Articles
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    • The Experimental Propagandist: Frank Capra and the Shape of Truth

      Richard Sowada
      January 2022
    • Heil Darling: a story of lips that haven’t laughed

      Pablo Gonçalo
      January 2022
    • The Night Shift: Woman as Outlaw Hero in The Man I Love

      Rob Nixon
      January 2022
    • Smooth Digital Reveries: On Proto-Vaporwave and The Flying Luna Clipper

      Dechlan Cochran
      January 2022
    • Promising Young Woman and the cinematic renegotiation of gender in rape-revenge

      Joy McEntee
      January 2022
    • Streaming paracinema: Charles Band, Full Moon Features and auteurism on third tier SVOD services

      Andrew Lynch and Alexa Scarlata
      January 2022
  • Interviews
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    • Laying Bare the Anzac Legend: Interview with Köken Ergun

      Eloise Ross
      October 2019
      Interviews
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    • Pom Bunsermvicha interview: “Being part of a family“

      Maja Korbecka
      January 2022
    • Leaning into the Challenge: Interview with Scattered co-creators Logan Mucha and Kate Darrigan

      Stuart Richards
      January 2022
    • “The cinema remains alive when it is diverse”: Interview with Jean-Gabriel Périot

      Daniel Fairfax
      January 2022
    • Do you feel lonely standing here? A conversation with Na Jiazuo

      Łukasz Mańkowski
      January 2022
    • A Joyride through Technological Change: Interview with David Cox

      Dirk de Bruyn
      January 2022
    • Sunken Film: Bill Morrison Talks The Village Detective: a song cycle

      Andrew Northrop
      July 2021
  • Great Directors
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    • Alan Rudolph

      Rudolph, Alan

      Eloise Ross
      August 2016
      Great Directors
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    • Curtiz, Michael

      Jeremy Carr
      January 2022
    • Lau, Kar-leung

      Tom Cunliffe
      January 2022
    • Tahimik, Kidlat 

      Charles Fairbanks
      January 2022
    • Lucas, George

      Dan Golding
      July 2021
    • Riefenstahl, Leni

      Jeremy Carr
      July 2021
    • Obayashi, Nobuhiko

      Hal Young
      May 2021
  • Great Actors
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    • Festival Reports

      Eloise Ross
      September 2012
      Festival Reports
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    • Thessaloniki International Film Festival: Rewriting the Rules of the Game

      Maria Giovanna Vagenas
      February 2022
    • The Pivot to Asia: The 34th Tokyo International Film Festival

      Kohei Usuda
      February 2022
    • Come Together: The 59th Viennale

      Leonardo Goi
      January 2022
    • From White Clouds, Wild Delights: The 18th Golden Apricot Yerevan International Film Festival

      Carmen Gray
      January 2022
    • AFI FEST-AFM: The Perils of Online

      Bérénice Reynaud
      January 2022
    • Looking for Love at HitchCon 2021

      Amelia Leonard and Jacob Agius
      January 2022
  • Book Reviews
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    • The Confessions of a Justified Filmgoer

      Eloise Ross
      March 2013
      Book Reviews
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    • 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 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
    • Time Machines: After Kubrick: A Filmmaker’s Legacy, edited by Jeremi Szaniawski

      Joy McEntee
      May 2021
  • CTEQ
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      The River

      Eloise Ross
      March 2009
      CTEQ Annotations on Film
    Recent
    • 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 Eloise Ross

Eloise Ross

Eloise Ross is Program Manager and President of the Melbourne Cinémathèque. She has a PhD in cinema studies from La Trobe University specialising on sound and embodiment, and writes and teaches about film.

I Kiss Your Hand, Madame (Robert Land, 1929)

Eloise Ross
April 2021
CTEQ Annotations on Film
This lightly sophisticated comedy, indulging in its opportunities at the tail-end of two eras – those of silent cinema, and the Weimar Republic’s Golden Twenties – has something that we might call the Marlene t...

Night of the Demon (Jacques Tourneur, 1957)

Eloise Ross
March 2019
CTEQ Annotations on Film
“Some of my best friends are ghosts,” says Dr. John Holden (Dana Andrews). He is being sarcastic (and Dana Andrews was one of the best serious men at reading a dry line); Holden, a “prominent psychologist” invi...

Ida Lupino’s Hard Noir: Private Hell 36 (Don Siegel, 1954)

Eloise Ross
October 2018
CTEQ Annotations on Film
In this grim, sexy film noir about corrupt male police officers, its lasting effect can be attributed to its lead woman, Ida Lupino. Yet the first woman on screen in Private Hell 36 (Don Siegel, 1954) is Doroth...

She knows, I feel: a lifelong windswept vortex in the Hebrides

Eloise Ross
June 2018
Stardust Memories: Cinephilia and Nostalgia
Dreams Father: “Have you ever been there?” Joan: “Often! In my dreams.” We’ve all been to places in our dreams. If they are positive dreams, with resonances that we yearn for, we might take a train, bus, and...

Eva (Joseph Losey, 1962)

Eloise Ross
March 2018
CTEQ Annotations on Film
“And the man and the woman were naked together, and were unashamed.” These words are spoken in voiceover as the camera slowly pans across Venetian waters and a frieze featuring Adam and Eve, their bodies almo...

Olivia (Jacqueline Audry, 1951)

Eloise Ross
March 2018
CTEQ Annotations on Film
Published pseudonymously in 1949 under the author name ‘Olivia’, Dorothy Bussy’s novel Olivia was likely written thanks to the influence of the 1931 German film Mädchen in Uniform (Girls in Uniform, Leontine Sa...
Pioneering Australian Women Filmmakers

Pioneering Australian Women Filmmakers: Introduction

Eloise Ross
July 2017
Pioneering Australian Women
“I just close my eyes and a sing, and I feel like I’m above the crowd.” - Jo Kennedy as Jackie Mullens, Starstruck (Gillian Armstrong, 1982) Made in 1982, Starstruck is the earliest feature film covered by t...
Jo Kennedy

High Spirits: Jo Kennedy in Starstruck (Gillian Armstrong, 1982) and Tender Hooks (Mary Callaghan, 1989)

Eloise Ross
July 2017
Pioneering Australian Women
Before Baz Luhrmann presented Sydney’s Coca Cola sign as a glittering icon and made it as famous as the city’s Harbour Bridge, other filmmakers had already recognised its symbolic potential: Mary Callaghan feat...
Budd Boetticher

“What the Hell’s a Nun Doin’ Out Here?”: Budd Boetticher Revised in Two Mules For Sister Sara (Don Siegel, 1970) 

Eloise Ross
June 2017
Revisiting Budd Boetticher
Directed by Don Siegel from a screenplay by Albert Maltz, it might seem odd that Two Mules For Sister Sara has a place in a Budd Boetticher dossier, given that he was not involved in production, nor seen on set...
The Case of the Missing Switchboard Operator

Love Affair or The Case of the Missing Switchboard Operator (Dušan Makavejev, 1967)

Eloise Ross
March 2017
CTEQ Annotations on Film
“I didn’t sign on to be your slave.” It’s the cry of every woman who has ever been born, and every country who has ever been created, annexed, oppressed. Hungarian woman Izabela Garodi (Eva Ras) speaks these wo...
Visit or Memories and Confessions

Visit or Memories and Confessions

Eloise Ross
September 2016
CTEQ Annotations on Film
Visita ou Memórias e Confissões is Manoel de Oliveira’s lasting cinematic elegy: a visit to a house filled with evidence of a life well lived, an exploration of memories that permeate through spaces and objects...
Whit Stillman interview

“There is Something Very Strange in Cinema”: An Interview with Whit Stillman

Eloise Ross
August 2016
Feature Articles
“Facts are such horrid things!” writes Mrs Alicia Johnson to Lady Susan Vernon in Jane Austen’s early novella, Lady Susan. In Whit Stillman’s film Love & Friendship (2016), adapted from Austen's posthumous...

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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