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    • The Black And White Epic No Budget Digital Feature Film

      Alexandra Heller-Nicholas and Jack Sargeant
      July 2021
      Feature Articles
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    • Respecting the Lives of Others: Bergman Island, Hommage and Anaïs in Love

      Anthony McKibbin
      August 2022
    • More than a Wink: The Nature of Reality in Blow-Up and Las Babas del Diablo

      Will Hair
      July 2022
    • Protestploitation ’70: Revisiting Zabriskie Point and Strawberry Statement

      Selen Ozturk
      July 2022
    • Suicide and Genius: Insights into One Episode of Akira Kurosawa’s Dreams

      Matthew Michaud & Justin Richardson
      July 2022
    • Interrogating Identity: The Fractal Self in Le petit soldat

      Michael James Beck
      July 2022
    • Bigger than life, or stranger: Pedro Costa’s Vitalina Varela: Part III

      Thomas Austin
      July 2022
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    • Do you feel lonely standing here? A conversation with Na Jiazuo

      Alexandra Heller-Nicholas and Jack Sargeant
      January 2022
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      Maja Korbecka
      July 2022
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      Maria Giovanna Vagenas
      July 2022
    • Human is only human when vulnerable: An Interview With Michel Franco

      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
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    • Loach, Ken

      Alexandra Heller-Nicholas and Jack Sargeant
      December 2003
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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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      Alexandra Heller-Nicholas and Jack Sargeant
      May 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
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      A Sample of the 2001 St. Kilda Film Festival Reviewed

      Alexandra Heller-Nicholas and Jack Sargeant
      June 2001
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      Bérénice Reynaud
      August 2022
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      Cerise Howard
      August 2022
    • Normality: The 2022 Cannes Film Festival

      Daniel Fairfax
      August 2022
    • 36th Cinema Ritrovato Gets Covid in the Tail

      Roger Macy
      July 2022
    • Keeping the Fires Burning: A Week at the San Francisco Silent Film Festival

      Jonathan Mackris
      July 2022
    • New Territories and Old Dreams of Independence – Chinese and Hong Kong documentaries at the Taiwan International Documentary Festival

      Judith Pernin
      July 2022
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    • Into the Past: The Cinema of Guy Maddin by William Beard; and Playing with Memories: Essays on Guy Maddin edited by David Church

      Alexandra Heller-Nicholas and Jack Sargeant
      March 2012
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    • Trafic at 30, End of a Film Journal

      Emmanuel Bonin
      July 2022
    • 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
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      Carlton + Godard = Cinema

      Alexandra Heller-Nicholas and Jack Sargeant
      May 2008
      CTEQ Annotations on Film
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    • Shadows of Forgotten Ancestors (Sergei Parajanov, 1965)

      Wheeler Winston Dixon
      July 2022
    • 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
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Author Jack Sargeant

Jack Sargeant

Author Jack Sargeant’s (PhD) latest books are Flesh and Excess: On Underground Film (Amok Books, 2016), and Against Control (Eight Millimetres, 2015). His previous works include Deathtripping: The Extreme Underground and Naked Lens: Beat Cinema (like Deathtripping now in its third English language edition). He has written on film and culture for numerous books, anthologies and journals, and has written introductions for works by Lydia Lunch, Romain Slocombe, and Joe Coleman. Jack has frequently appeared as a documentary interviewee in films including Blank City, The Advocate For Fagdom and Llik Your Idols. In addition he has lectured on underground film and culture, beat culture, William Burroughs and many other topics across the world. He has curated numerous film festival programmes, media events, and exhibitions, and he is currently program director for the Revelation Perth International Film Festival. See: http://www.jacktext.net/ / http://eightmillimetres.bigcartel.com/product/against-control / http://www.amokbooks.com/

american extreme

Introduction: American Extreme

Alexandra Heller-Nicholas and Jack Sargeant
September 2016
American Extreme
This dossier brings together a collection of articles on a number of filmmakers and filmmaking practices a little beyond Senses of Cinema’s typical focus. This serves as an introduction to and consideration of ...
Usama Alshaibi

The Pornographic Imagination Manifest: Notes On Usama Alshaibi’s The Amateurs (2003)

Jack Sargeant
September 2016
American Extreme
“I think there was something internally stimulating to go (to) that space, collectively there was a high, a mutual fantasy, we forgot we were making anything – it seemed like the performance was really for one ...

Notes From (Sydney) Underground: The 2nd Sydney Underground Film Festival

Jack Sargeant
April 2009
Festival Reports
11-14 September 2008 By way of an introduction. For those not fully engaged with the vagaries of the underground it should be observed that the underground is a contested space. Some would suggest undergr...
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Hot, Hard Cocks and Tight, Tight Unlubricated Assholes: Transgression, Sexual Ambiguity and “Perverse” Pleasures in Serge Gainsbourg’s Je t’aime moi non plus

Jack Sargeant
February 2004
Perversion
If certain body parts and functions are coded as normal and acceptable, Sargeant examines a film that turns these presuppositions on their head.
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American Nightmare: The Baying of Pigs: Reflections on the New American Horror Movie

Jack Sargeant
July 2001
Festival Reports
Sargeant is once again knee deep in the horror of humanity.
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No Text / No Truth / Jouissance and Revolution: An Interview with Craig Baldwin

Jack Sargeant
April 2001
Craig Baldwin
Taking place before his most recent film Spectres of the Spectrum (1999), Baldwin here discusses his background, Dada, neo-colonialism and his many films.
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A Brief Introduction to the Beat (in) Film

Jack Sargeant
September 2000
Feature Articles
The glorious Beat Cinema here intelligently and knowledgeably discussed.

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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