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  • Dossiers
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    • Cinema Never Dies: Abbas Kiarostami’s 24 Frames and The Ontology of the Digital Image

      Felicity Collins
      October 2019
      Feature Articles
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    • 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
    • Values of Baz Luhrmann’s Elvis: A Carnival Ride

      Laleen Jayamanne
      January 2023
    • Fellini’s Memory: Amarcord

      Bruce Jackson
      January 2023
    • More than Mimicry: On Puppets and Interdependency in Annette and The Double Life of Véronique

      Indigo Bailey
      January 2023
    • After Structural Film: The Conceptual films of Morgan Fisher

      Arindam Sen
      January 2023
    • This Body Keeps the Score: the films of Saidin Salkic

      Dirk de Bruyn
      January 2023
  • Interviews
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    • Daydreaming Through Boundaries: A Conversation with Queena Li

      Felicity Collins
      May 2021
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    • Afterwater: A Conversation with Dane Komljen

      Maria Giovanna Vagenas
      March 2023
    • Splice Here A Projected Odyssey: An Interview with Rob Murphy

      Tara Judah
      January 2023
    • Piaffe: Interview with Ann Oren

      Maria Giovanna Vagenas
      January 2023
    • Flesh Memories: Yeo Siew Hua’s Expanded Cinema in The Once and Future

      Toby Wu
      January 2023
    • In Search of Lost Time: An Interview with Christophe Honoré

      David A. Gerstner
      January 2023
    • Slow Fireworks: The Films of Amy Halpern

      Arindam Sen
      January 2023
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      Felicity Collins
      October 2005
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      Sherry Johnson
      January 2023
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      Giampiero Frasca
      January 2023
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      Jeremy Carr
      October 2022
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      Sara Delshad
      October 2022
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      Hal Young
      October 2022
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      Sanya Osha
      May 2022
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      Felicity Collins
      May 2022
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      Jacob Agius
      October 2022
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      Wheeler Winston Dixon
      May 2022
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      Jeremy Carr
      May 2022
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      Mark Lager
      May 2022
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      Jessica Balanzategui
      January 2022
  • Festival Reports
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    • Bien Sur: The 11th Buenos Aires Festival Internacional de Cine Independiente

      Felicity Collins
      September 2009
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    • Fire Within: The 60th Viennale

      Leonardo Goi
      January 2023
    • The Kids Aren’t Alright: The 27th Busan International Film Festival

      Marc Raymond
      January 2023
    • A Report on the Exhibition Threshold (works by Dirk de Bruyn, Guy Grabowsky & Mat Hughes)

      Glenn D'Cruz
      January 2023
    • Politics, Isolation, Pandemic: The 35th Tokyo International Film Festival

      Kohei Usuda
      January 2023
    • All the Pain and Exploitation: 66th London Film Festival

      Tara Judah
      January 2023
    • BABY, THE RAIN MUST FALL … on the Claude Sautet retrospective at the 70th San Sebastian International Film Festival

      Neil Young
      January 2023
  • Book Reviews
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    • The Past Is Not Even Past: Afterimages, by Laura Mulvey

      Felicity Collins
      April 2020
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    • 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
    • In search of a Global Filipino Auteur: Sine ni Lav Diaz, edited by Parichay Patra and Micheal Kho Lim

      Pujita Guha
      January 2023
    • Philosophy for the Blockbuster Audience: Christopher Nolan: Filmmaker and Philosopher, by Robbie B. H. Goh

      Tom Boniface-Webb
      October 2022
    • Do we need Digital Tarkovsky?

      Corey P. Cribb
      October 2022
    • Trafic at 30, End of a Film Journal

      Emmanuel Bonin
      July 2022
  • CTEQ
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    • The Ascent (1977): Larisa Shepitko’s Final Word

      Felicity Collins
      March 2019
      CTEQ Annotations on Film
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    • Pickpocket (Robert Bresson, 1959)

      Emma Fajgenbaum
      March 2023
    • I Remember: Amarcord (Federico Fellini, 1973)

      Jacob Agius
      February 2023
    • The Lure (Agnieszka Smoczyńska, 2015)

      Faith Everard
      December 2022
    • Othering Heights: The Queerest of the Queer in Rosa von Praunheim’s City of Lost Souls (1983)

      Cerise Howard
      December 2022
    • To walk away, you gotta leave something behind, or a long story short: Hedwig and the Angry Inch (2001)

      Cerise Howard
      December 2022
    • Lost Paradise: F.W. Murnau’s Tabu: A Story of the South Seas (1931)

      Andréas Giannopoulos
      November 2022
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Author Felicity Collins

Felicity Collins

Felicity Collins is Adjunct Associate Professor, Creative Arts and English, La Trobe University.

Breathing Under Water: a film by Susan Murphy Dermody

Felicity Collins
July 2021
Australian Autofiction
A chook enters the frame. A black cat evades the lens. An animated panther won’t be denied. In 2021, these are the figures that lurk on the outskirts of conscious thought in the days after I eject Ronin’s DVD o...

Native Peoples, Global Films: the Maoriland Film Festival

Felicity Collins
June 2014
Festival Reports
In the Maoriland Film Festival program notes, the mihi or welcome dedicated the inaugural festival to the memory of Aunty Borgia, a formidable figure in the local Maori community who appeared onscreen in one of...

Rachel Perkins: Creating Change Through Blackfella Films

Felicity Collins
December 2013
Contemporary Australian Filmmakers
Since her traineeship with the Central Australian Aboriginal Media Association in 1988, Rachel Perkins has become an iconic figure of Australian Indigenous film and television. This article examines Perkins’ us...
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The Hedonistic Modernity of Sydney in They’re a Weird Mob

Felicity Collins
July 2006
Sydney on Film
Michael Powell’s 1966 satire on Australian life-style made extensive use of Sydney locations. Collins discusses a range of cultural discourses that frame conceptions of the city, both real and imaginary.
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Japanese Story: A Shift of Heart

Felicity Collins
December 2003
Australian Contemporary Cinema
This recent, multi-award winning Australian film marks a quantum leap for the Oz landscape genre film and hints at a shift in national consciousness.
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Dreaming in Motion: Five Films from Five New Filmmakers

Felicity Collins
July 2003
Australian Film Culture
Following on from Shifting Sands: From Sand to Celluloid is Dreaming in Motion, a new series of indigenous shorts. Collins takes a closer look at their thematic and formal qualities.
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Brazen Brides, Grotesque Daughters, Treacherous Mothers: Women’s Funny Business in Australian cinema from Sweetie to Holy Smoke

Felicity Collins
December 2002
Feature Articles
Contemporary Australian women filmmakers rework the romantic comedy genre to incorporate women and their experiences.
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Heaven’s Burning

Felicity Collins
September 2000
Contemporary Australian Cinema
Redefining the outback and the Oz road movie: Felicity Collins untangles what implicates her to this film.

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

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