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    • Teddy Williams interview

      The Explorer: An Interview with Teddy Williams

      Joanna Di Mattia
      June 2017
      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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    • The Creative Leap to Fluid Consciousness: An Encounter with Ashley McKenzie

      Joanna Di Mattia
      May 2022
      Interviews
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    • 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
    • Interview with Albert Birney & Kentucker Audley

      Nolan Kelly
      May 2022
    • An Interview with Danny Lyon

      Elizabeth Dexter
      May 2022
  • Great Directors
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    • Mankiewicz, Joseph L.

      Joanna Di Mattia
      April 2005
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    • Smith, Jack: Travails of an Underground Artist

      Sanya Osha
      May 2022
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      Darragh O’Donoghue
      May 2022
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      Jeremy Carr
      January 2022
    • Lau, Kar-leung

      Tom Cunliffe
      January 2022
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      Charles Fairbanks
      January 2022
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      Dan Golding
      July 2021
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      Joanna Di Mattia
      May 2022
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      Joy McEntee
      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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    • From White Clouds, Wild Delights: The 18th Golden Apricot Yerevan International Film Festival

      Joanna Di Mattia
      January 2022
      Festival Reports
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    • Day by Day: IFFR 2022

      Madeleine Collier
      May 2022
    • Stuck in traffic: IFFR 2022

      Tara Judah
      May 2022
    • Absence and Presence at Internationale Kurzfilmtage Oberhausen. 68.

      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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    • L'atalante

      The Mythographer and the Poet: On Marina Warner’s L’Atalante

      Joanna Di Mattia
      March 2016
      Book Reviews
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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
  • CTEQ
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    • 8 1/2

      “A Fantastic, Enchanted Ballet”: Federico Fellini’s 8 ½ (1963)

      Joanna Di Mattia
      January 2017
      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 Joanna Di Mattia

Joanna Di Mattia

Joanna Di Mattia is a writer and film critic and the inaugural winner of the Senses of Cinema-Monash University Essay Prize. Her PhD in Women’s Studies from Monash University examined anxiety about masculinity in contemporary American cinema. She has contributed to numerous publications and her writing reflects her interest in the aesthetics of desire, screen acting, and the complex pleasures of looking.

‘You knew, of course, he was a homosexual’: Dirk Bogarde in Victim (Basil Dearden, 1961)

Joanna Di Mattia
April 2021
CTEQ Annotations on Film
Basil Dearden’s 1961 film, Victim, represents a significant moment in British film history. Released into a world where sex between adult men in the United Kingdom was a heavily policed crime, it is the first B...

Far From the Sea in Tinker Tailor Soldier Spy (2011)

Joanna Di Mattia
October 2020
Pop Music in Film
Do secret agents have hearts that break? In its final minutes, Tomas Alfredson’s Tinker Tailor Soldier Spy (2011), delivers an affirmative answer with a pop song – a musical moment discordant with the film’s mo...

Intimate Interiors: The Long Day Closes (Terence Davies, 1992)

Joanna Di Mattia
October 2019
CTEQ Annotations on Film
The Long Day Closes (1992), like each of Terence Davies’ nine films, lives and breathes within interior spaces. When Bud (Leigh McCormack), the film’s 12-year-old protagonist, is pictured outdoors, it is an exp...
Terence Davies

Great Directors: Terence Davies (Issue 84, September 2017)

Joanna Di Mattia
October 2019
Highlights from 20 years of Senses of Cinema
Originally published in Senses of Cinema issue 84, September 2017. “Only Through Time Time is Conquered” Early in Of Time and the City (2008), Terence Davies’ documentary collage that brings the postwar Live...

“A Happy Sense of Solitude”: Exterior Space in The Flavour of Green Tea over Rice (Yasujirō Ozu, 1952)

Joanna Di Mattia
March 2019
CTEQ Annotations on Film
The Flavour of Green Tea over Rice (1952) appears early in the most lauded period of Yasujirō Ozu’s 35-year career. Inevitably overshadowed by the film that followed it, Tokyo Story (1953), The Flavour of Green...

A Man Under Investigation: The Bigamist (Ida Lupino, 1953)

Joanna Di Mattia
October 2018
CTEQ Annotations on Film
“Harry Graham …” the adoption agent, Mr Jordan (Edmund Gwenn), contemplates, once the man in question (Edmond O’Brien) and his wife, Eve (Joan Fontaine), have left his office. Harry and Eve have decided to adop...

An Unsentimental Education: Children in the Films of Jacques Doillon

Joanna Di Mattia
October 2018
The Second Generation: French Cinema After the New Wave
An adult tries to comfort the four-year-old girl whose grief and confusion at her mother’s sudden death provides Jacques Doillon’s Ponette (1996) with its narrative and emotional contours. She tells Ponette (Vi...

Thinking about Celine and Jesse: Travelling through time with The Before Trilogy

Joanna Di Mattia
June 2018
Stardust Memories: Cinephilia and Nostalgia
* The last time I saw France, I caught a train alone from Paris to Lyon. I ate a ham and cheese baguette, drank a bottle of Orangina, and flicked absently between magazines, writing in my journal, and reading ...

Some thoughts on the erotic aesthetic in Luca Guadagnino’s ‘Desire Trilogy’

Joanna Di Mattia
March 2018
Feature Articles
Desire is a wish; a risk; a hunger. Desire starts with an arousal that then becomes a yearning. It alters our perception and changes our molecules. To follow where desire leads can make life better or messier, ...
A Place in the Sun

Inside the outsider’s skin: Montgomery Clift in A Place in the Sun (1951)

Joanna Di Mattia
March 2018
CTEQ Annotations on Film
George Stevens helmed a U.S. Army film unit for much of the Second World War. He recorded the D-Day landings, the liberation of Paris and, most importantly, the liberation of Dachau concentration camp and Duben...
Alice in Wonderland

Alice on the Verge of a Nervous Breakdown: Norman Z. McLeod’s Alice in Wonderland (1933)

Joanna Di Mattia
March 2018
Alice in Wonderland
‘Will I ever get into the beautiful garden?’ Charlotte Henry’s Alice cries in frustration after she takes a drink from a bottle (‘Not poison’) that she hopes will let her fit through a very small door. Her deci...
The 2017 Melbourne International Film Festival

Faces, Places: The 2017 Melbourne International Film Festival

Joanna Di Mattia
September 2017
Festival Reports
“We didn’t need dialogue. We had faces.” This statement, from Billy Wilder’s Hollywood noir, Sunset Boulevard (1950), returned to me time and time again during the 2017 Melbourne International Film Festival. A ...

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.

 

© Senses of Cinema 2019

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

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