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    • ‘Is The Power of the Dog a New Zealand film? National Identity, Genre and Jane Campion’

      Henri de Corinth
      May 2022
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      Thomas Austin
      May 2022
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      Emmalea Russo
      May 2022
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      Caitlin Wilson
      May 2022
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      Vedant Srinivas
      May 2022
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      Peter Verstraten
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      Nashuyuan Wang
      May 2022
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      Henri de Corinth
      January 2022
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      Victor Paz
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      Madeleine Collier
      May 2022
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      Nolan Kelly
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      Brigitta Wagner
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      Henri de Corinth
      October 2003
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      Sanya Osha
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      Jeremy Carr
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      Charles Fairbanks
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      Dan Golding
      July 2021
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      Henri de Corinth
      May 2022
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      Elusive Reality: The 25th Vancouver International Film Festival

      Henri de Corinth
      February 2007
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      Madeleine Collier
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      Tara Judah
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      Tara Judah
      May 2022
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      Anuj Malhotra
      May 2022
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      Marc Raymond
      May 2022
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      Ricardo Vieira Lisboa
      May 2022
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    • Towards a Single Cinephilia: On An Invention Without a Future: Essays on Cinema by James Naremore

      Henri de Corinth
      September 2014
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      Kyle Barrowman
      May 2022
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      Tony McKibbin
      January 2022
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      Elroy Rosenberg
      January 2022
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      Steven Shaviro
      July 2021
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      Adrian Schober
      July 2021
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      Megan Carrigy
      July 2021
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      Road House

      Henri de Corinth
      July 2001
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      Wheeler Winston Dixon
      May 2022
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      Tiia Kelly
      May 2022
    • A Geography of Fractured Desire: Michelangelo Antonioni’s L’eclisse (1962)

      Danica van de Velde
      May 2022
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      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 Henri de Corinth

Henri de Corinth

Henri de Corinth is a film writer based in Washington DC. An art historian and linguist by training, his writing has appeared in Lo Specchio Scuro, MUBI Notebook, Kinoscope, and We Are The Mutants.

Antiworld, Imminence and the Pastoral in Katalin Varga

Henri de Corinth
July 2019
The Analogues of Peter Strickland
While the films of Peter Strickland are celebrated for their emulation of midcentury genre cinema, much of their structure – being their oscillation between narrative and abstraction – arguably has its origins ...

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.

 

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