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  • Dossiers
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    • The Artist: Mystification Beyond Artistry

      John Hughes
      April 2012
      Feature Articles
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    • Film Criticism and the Grotesque: A Very American Tár & an Oz Elvis

      Laleen Jayamanne
      August 2023
    • The aesthetics and politics of melodrama, reconsidered: Delitto d’amore / Crime of Love

      Thomas Austin
      August 2023
    • The Exorcism of Sinister Ghosts: Saralisa Volm’s The Silent Forest

      Peter Verstraten
      May 2023
    • Spectatorial Labour: The Political Vision of Sergei Loznitsa’s Documentaries

      Santasil Mallik
      May 2023
    • Horse-People and White Voices: Neoliberalism and Race in Sorry to Bother You

      Thomas Austin
      May 2023
    • 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
  • Interviews
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    • The Living Theatre: An Interview with Paul Felten and Joe DeNardo about their film Slow Machine

      John Hughes
      October 2020
      Interviews
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    • “Can You Prefigure Reality?”: A Conversation with Christoph Hochhäusler on his new film, Bis ans Ende der Nacht (Till the End of the Night)

      Marco Abel
      August 2023
    • The Klezmer Project (Adentro Mío Estoy Bailanado): A Conversation with Leandro Koch and Paloma Schachmann

      Maria Giovanna Vagenas
      August 2023
    • Chunky Shrapnel: A Conversation with John Angus Stewart

      C.S. Harper
      August 2023
    • A Cinematic Sojourn to the Land of Awe and Astonishment: Interview with Laura Citarella about El Pampero Cine and Trenque Lauquen

      Hamed Sarrafi
      August 2023
    • Here: An Interview with Bas Devos

      Maria Giovanna Vagenas
      May 2023
    • A Different Kind of Love Story: An Interview with Dustin Guy Defa

      Brigitta Wagner
      May 2023
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      John Hughes
      January 2003
      Great Directors
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      Jeremy Carr
      May 2023
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      Benjamin Kooyman
      May 2023
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      Giampiero Frasca
      January 2023
    • Fosse, Bob

      Sherry Johnson
      January 2023
    • Sorrentino, Paolo

      Jeremy Carr
      October 2022
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      Hal Young
      October 2022
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      John Hughes
      May 2022
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      Eloise Ross
      August 2023
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      Wheeler Winston Dixon
      May 2023
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      Jacob Agius
      October 2022
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      Joy McEntee
      May 2022
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      Wheeler Winston Dixon
      May 2022
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      Jeremy Carr
      May 2022
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      Underground/Overground: The 1st Sydney Underground Film Festival

      John Hughes
      March 2008
      Festival Reports
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    • Towards A Domestic Cinephilia: The 24th Jeonju International Film Festival

      Marc Raymond
      August 2023
    • Direct Cinephilia: Play-Doc 2023

      Fedor Tot
      August 2023
    • Stardust chronicle, a report from the 69th Internationale Kurzfilmtage Oberhausen

      Arindam Sen
      August 2023
    • Rising from the ashes: The 47th Hong Kong International Film Festival

      Maja Korbecka
      August 2023
    • The 22nd Transilvania International Film Festival: Open-world Stimulations

      Peter Virginas
      August 2023
    • Searching for Eros: the 76th Cannes Film Festival

      Savina Petkova
      August 2023
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      John Ford Made Westerns: Filming the Legend in the Sound Era (Indiana University Press, 2001) eds. Gaylyn Studlar and Matthew Bernstein

      John Hughes
      December 2001
      Book Reviews
    Recent
    • The Rebellious and the Rigorous: The Red Years of Cahiers du cinéma (1968-1973), by Daniel Fairfax

      Tony McKibbin
      August 2023
    • A Journey through Serge Daney’s Cinema House

      Emmanuel Bonin
      August 2023
    • Bloody, Raging Females: Five Books Examine Contemporary Feminist Horror Films

      Holly Willis
      May 2023
    • Cinematic Bottom-Feeding: Why It’s OK to Love Bad Movies, by Matthew Strohl

      Sam Woolfe
      May 2023
    • 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
  • CTEQ
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    • Working Girls

      Pre-Code Women: Dorothy Arzner’s Working Girls (1931)

      John Hughes
      February 2017
      CTEQ Annotations on Film
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    • Czechoslovakia’s King and Queen of Comedy: Anny Ondra and Vlasta Burian in An Old Gangster’s Molls (Svatopluk Innermann, 1927)

      Shari Kizirian
      September 2023
    • It’s About Time We All Met a Happy End (Oldřich Lipský, 1967)

      Cerise Howard
      September 2023
    • Heave Ho! (Martin Frič, 1934)

      Faith Everard
      September 2023
    • Tomorrow I’ll Wake Up and Scald Myself with Tea (Jindřich Polák, 1977)

      Danica van de Velde
      September 2023
    • The Woman Suffers: “South Australia’s greatest film production” (Raymond Longford, 1918)

      Stephen Gaunson
      September 2023
    • The Sentimental Bloke (Raymond Longford, 1919)

      Darragh O’Donoghue
      September 2023
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more articles... more articles... more articles... more articles... more articles...

Author John Hughes

John Hughes

John Hughes – a writer, director and producer of documentary and drama for film, television and online – has an ongoing fascination with the interventions of groundbreaking filmmakers in Australian documentary. Indonesia Calling: Joris Ivens in Australia completes a film trilogy with Film-Work (1981) and The Archive Project (2006).

The Russian Doll and Skripov the Spy: ASIO’s Legal Resident (1963) and Peter Butt’s Final Rendezvous (2020)

John Hughes
April 2020
Feature Articles
Within the archive meaning exists in a state that is both residual and potential. The suggestion of past uses coexists with a plentitude of possibilities. Unpacking Peter Butt’s film Final Rendezvous (2020) a...

Australia Daze (Pat Fiske, 1988): Questioning Nationhood

John Hughes
October 2018
CTEQ Annotations on Film
“Centenaries are strange institutions often with complex purposes (sometimes) wonderfully simple minded.” – C. J. Clarke “This 80-minute comedy – well it is funny most of the time – is an entertaining and a...

Tom Zubrycki’s Amongst Equals (1986-1991): A Perennial Work in Progress

John Hughes
October 2018
CTEQ Annotations on Film
Amongst Equals has never been released, and while several iterations found their way to the screen in the early 1990s, the film has yet to be completed. Instead, wrecked and stranded on a reef of competing impe...
Australian filmmakers

A Work in Progress: the Rise and Fall of Australian Filmmakers Co-operatives, 1966–86

John Hughes
December 2015
Australian Film History
Film co-ops were born out of necessity – both economic and political. During the 1960s and 1970s, avant-garde and experimental cinema, “expanded cinema” and varying strands of independent filmmaking sought to g...

Still Life, Slow Cinema: My Life without Steve

John Hughes
April 2015
CTEQ Annotations on Film
An essay film, staged as a short drama deploying a first person, diary film narration over exquisitely designed object oriented “still life” tableaus, Gillian Leahy’s My Life Without Steve (1986) was a sensatio...
article placeholder

Indonesia Calling: Joris Ivens in Australia

John Hughes
July 2009
MIFF Premiere Fund/Post-Punk Dossier, Special Dossiers
The new feature documentary scheduled for release at the Melbourne International Film Festival this year, Indonesia Calling: Joris Ivens in Australia, revisits the making of the 22-minute, 1946 documentary ...

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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