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  • Features
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      Parametric Narration and Optical Transition Devices: Hou Hsiao-hsien and Robert Bresson in Comparison

      Eloise Ross
      October 2004
      Feature Articles
    Recent
    • Criminals Against Decoration: Modernism as a Heist

      Andy Reischling
      October 2020
    • The New-Ark: trying to disavow anti-blackness

      Andrew Brooks
      October 2020
    • Claustrophobia and Intimacy in Alex Ross Perry’s Queen of Earth and Her Smell

      Zoë Almeida Goodall
      October 2020
    • Wanda (Barbara Loden,1971)

      What’s in a Cone? Barbara Loden’s Wanda Between Weakness and Resilience

      Luise Moerke
      October 2020
    • Come and See The Painted Bird: A Filmmaker’s Plea

      Salvador Carrasco
      October 2020
    • Thresholds of Work and Non-Work in Tulapop Saenjaroen’s People on Sunday

      Steffanie Ling
      October 2020
  • Festival Reports
    Random
    • A State of Urgency: The 2012 DocLisboa – International Documentary Film Festival

      Eloise Ross
      November 2012
      Festival Reports
    Recent
    • Dreaming of the Mountains: The 9th Dharamshala International Film Festival

      Sucheta Chakraborty
      January 2021
    • Ghost Cities: The 58th Viennale

      Leonardo Goi
      January 2021
    • Queer and Australian Features at the 2020 Adelaide Film Festival

      Stuart Richards
      January 2021
    • Korean Cinema’s Self-Portrait: The 25th Busan International Film Festival

      Marc Raymond
      January 2021
    • Live Through This: The 2020 Adelaide Film Festival

      Saige Walton
      January 2021
    • “Sense of Place”: The 33rd Tokyo International Film Festival

      Kohei Usuda
      January 2021
  • Book Reviews
    Random
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      “In Between” the Moving Image: Mutant Media: Essays on Cinema, Video Art and New Media by John Conomos

      Eloise Ross
      July 2009
      Book Reviews
    Recent
    • Revising a Concept: Cinema Expanded: Avant-Garde Film in the Age of Intermedia, by Jonathan Walley

      Holly Willis
      January 2021
    • When Everything Seemed Possible: London’s Arts Labs and the 60s Avant-Garde by David Curtis

      Wheeler Winston Dixon
      January 2021
    • “Memories Are Made of This”: Juliane Lorenz and Lothar Schirmer’s R.W. Fassbinder: Film Stills, 1966-1982

      Eric Gudas
      January 2021
    • Beneath the Tuxedo Elegance: Cary Grant: The Making of a Hollywood Legend, by Mark Glancy

      Tom Ryan
      January 2021
    • Anarchist Cinema: A Dream of Resistance: The Cinema of Kobayashi Masaki by Stephen Prince

      Karthick Ram Manoharan
      January 2021
    • Trade Follows the Film: Cinema and the Wealth of Nations: Media, Capital, and the Liberal World System by Lee Grieveson

      Daniel Fairfax
      October 2020
  • CTEQ
    Random
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      Contexts in which to Place They’re a Weird Mob and into which You Might Never Have Placed it Before

      Eloise Ross
      July 2005
      CTEQ Annotations on Film
    Recent
    • “She smelled of Tokyo”: Sensory connections in The Masseurs and a Woman (1938)

      Danica van de Velde
      April 2021
    • Shimizu Redivivus: A Woman Crying in Spring (Nakinureta haru no onna yo, Hiroshi Shimizu, 1933)

      Joseph Sgammato
      April 2021
    • A Hero of Tokyo (Tôkyô no eiyû, Hiroshi Shimizu, 1935)

      Hayley Scanlon
      April 2021
    • I Kiss Your Hand, Madame (Robert Land, 1929)

      Eloise Ross
      April 2021
    • The Major and The Minor (Billy Wilder, 1942)

      Karli Lukas
      April 2021
    • Unfolding Florence – The Many Lives of Florence Broadhurst (Gillian Armstrong, 2006)

      Jytte Holmqvist
      April 2021
  • Great Directors
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    • Truffaut, François

      Eloise Ross
      July 2003
      Great Directors
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    • Scott, Tony

      Jeremy Carr
      October 2020
    • Menzel, Jiří

      Brendan Black
      October 2020
    • Wise, Robert

      Adrian Schober
      April 2020
    • Fernández, Emilio “Indio”

      Abel Muñoz Hénonin
      April 2020
    • Fei Mu

      Jasper Mäkinen
      October 2019
    • Huston, John

      Bruce Jackson
      July 2019
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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...

Founded 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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Michelle Carey • Daniel Fairfax • Fiona Villella • César Albarrán-Torres

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