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      “When men, even unknowingly, …”: Quién sabe?, Love is Colder than Death, Le Cercle rouge: The Buddy Movie Becomes Romance

      J. David Slocum
      May 2008
      Feature Articles
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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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      J. David Slocum
      May 2021
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      Savina Petkova
      May 2022
    • ‘I Was Taunting the Western’: An Interview with Alejandra Márquez Abella

      Silvia Spitta & Gerd Gemünden
      May 2022
    • “The Act of Filming is an Inner and Physical Journey in Itself”: Interview with Helke Misselwitz

      Victor Paz
      May 2022
    • Information as a music video, comedy as a diagram: Beny Wagner & Sasha Litvintseva in conversation

      Madeleine Collier
      May 2022
    • Interview with Albert Birney & Kentucker Audley

      Nolan Kelly
      May 2022
    • The Creative Leap to Fluid Consciousness: An Encounter with Ashley McKenzie

      Brigitta Wagner
      May 2022
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      J. David Slocum
      May 2002
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      Sanya Osha
      May 2022
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      Darragh O’Donoghue
      May 2022
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      Jeremy Carr
      January 2022
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      Tom Cunliffe
      January 2022
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      Charles Fairbanks
      January 2022
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      Dan Golding
      July 2021
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      J. David Slocum
      May 2022
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      Joy McEntee
      May 2022
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      Jeremy Carr
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      Mark Lager
      May 2022
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      Jessica Balanzategui
      January 2022
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      J. David Slocum
      December 2013
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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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      Cinema and Culture Theory: Film Theory: Critical Concepts in Media and Cultural Studies edited by Philip Simpson, Andrew Utterson and K.J. Shepherdson

      J. David Slocum
      February 2005
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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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      J. David Slocum
      April 2015
      CTEQ Annotations on Film
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    • 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 J. David Slocum

J. David Slocum

J. David Slocum is Associate Dean in the Graduate School of Arts and Science at New York University, where he teaches Cinema Studies. He is the editor of Rebel Without a Cause: Approaches to a Maverick Masterwork (SUNY Press, 2005).

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Rebel Without a Cause

J. David Slocum
June 2011
CTEQ Annotations on Film
The cinema of Nicholas Ray, even in early efforts like They Live by Night (1948), In a Lonely Place (1950), Flying Leathernecks (1951), and The Lusty Men (1952), ranges across conventional Hollywood genres ...
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Rebel Without a Cause

J. David Slocum
February 2007
CTEQ Annotations on Film
Rebel Without a Cause (1955 USA 111 mins) Prod Co: Warner Bros. Prod: David Weisbart Dir: Nicholas Ray Scr: Stewart Stern Phot: Ernest Haller Ed: William Zeigler Art Dir: Malcolm Bert Mus: Leonard Rosenm...
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Zanzibar International Film Festival 2003

J. David Slocum
October 2003
Festival Reports
Zanzibar is an island off the coast of east Africa that, with mainland Tanganyika, formed the United Republic of Tanzania in 1964. For centuries, the island, known locally as Unguja, was an important stop o...

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

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