• Features
  • Festival Reports
  • Book Reviews
  • CTEQ
  • Great Directors
  • Great Actors
  • Special Dossiers
  • Past Issues
  • Podcast
  • Support us on Patreon
Search
Senses of Cinema logo
  • Dossiers
  • Features
    Random
    • article placeholder

      “Colorado Death Trip”: The Surrealist Recontextualisation of Farm Security Administration Photos in Dogville

      John Hughes
      February 2005
      Feature Articles
    Recent
    • 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
    • Values of Baz Luhrmann’s Elvis: A Carnival Ride

      Laleen Jayamanne
      January 2023
    • Fellini’s Memory: Amarcord

      Bruce Jackson
      January 2023
    • More than Mimicry: On Puppets and Interdependency in Annette and The Double Life of Véronique

      Indigo Bailey
      January 2023
    • After Structural Film: The Conceptual films of Morgan Fisher

      Arindam Sen
      January 2023
    • This Body Keeps the Score: the films of Saidin Salkic

      Dirk de Bruyn
      January 2023
  • Interviews
    Random
    • Capitalism and its Discontents: an Interview with Mike Hoolboom

      John Hughes
      October 2020
      Interviews
    Recent
    • Splice Here A Projected Odyssey: An Interview with Rob Murphy

      Tara Judah
      January 2023
    • Piaffe: Interview with Ann Oren

      Maria Giovanna Vagenas
      January 2023
    • Flesh Memories: Yeo Siew Hua’s Expanded Cinema in The Once and Future

      Toby Wu
      January 2023
    • In Search of Lost Time: An Interview with Christophe Honoré

      David A. Gerstner
      January 2023
    • Slow Fireworks: The Films of Amy Halpern

      Arindam Sen
      January 2023
    • About Time: Interview with Cyril Schäublin

      Hamed Sarrafi
      January 2023
  • Great Directors
    Random
    • Carax, Leos

      John Hughes
      November 2006
      Great Directors
    Recent
    • Fosse, Bob

      Sherry Johnson
      January 2023
    • Cimino, Michael

      Giampiero Frasca
      January 2023
    • Sorrentino, Paolo

      Jeremy Carr
      October 2022
    • Craven, Wes

      Hal Young
      October 2022
    • Dwoskin, Stephen

      Sara Delshad
      October 2022
    • Smith, Jack: Travails of an Underground Artist

      Sanya Osha
      May 2022
  • Great Actors
    Random
    • Magee, Patrick

      John Hughes
      May 2022
      Great Actors
    Recent
    • Divine

      Jacob Agius
      October 2022
    • Lansbury, Angela

      Joy McEntee
      May 2022
    • Caine, Michael

      Wheeler Winston Dixon
      May 2022
    • Garbo, Greta

      Jeremy Carr
      May 2022
    • Cage, Nicolas

      Jessica Balanzategui
      January 2022
  • Festival Reports
    Random
    • Something for Somebody: The 59th Sydney Film Festival

      John Hughes
      August 2012
      Festival Reports
    Recent
    • Fire Within: The 60th Viennale

      Leonardo Goi
      January 2023
    • Politics, Isolation, Pandemic: The 35th Tokyo International Film Festival

      Kohei Usuda
      January 2023
    • The Kids Aren’t Alright: The 27th Busan International Film Festival

      Marc Raymond
      January 2023
    • A Report on the Exhibition Threshold (works by Dirk de Bruyn, Guy Grabowsky & Mat Hughes)

      Glenn D'Cruz
      January 2023
    • All the Pain and Exploitation: 66th London Film Festival

      Tara Judah
      January 2023
    • BABY, THE RAIN MUST FALL … on the Claude Sautet retrospective at the 70th San Sebastian International Film Festival

      Neil Young
      January 2023
  • Book Reviews
    Random
    • article placeholder

      Ghouls, Gimmicks and Gold: Horror Films and the American Movie Business, 1953-1968 by Kevin Heffernan

      John Hughes
      November 2006
      Book Reviews
    Recent
    • For a Double-Edged Theory: 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
    • In search of a Global Filipino Auteur: Sine ni Lav Diaz, edited by Parichay Patra and Micheal Kho Lim

      Pujita Guha
      January 2023
    • Philosophy for the Blockbuster Audience: Christopher Nolan: Filmmaker and Philosopher, by Robbie B. H. Goh

      Tom Boniface-Webb
      October 2022
    • Do we need Digital Tarkovsky?

      Corey P. Cribb
      October 2022
    • Trafic at 30, End of a Film Journal

      Emmanuel Bonin
      July 2022
  • CTEQ
    Random
    • Nobody Knows

      Nobody Knows (Hirokazu Koreeda, 2004)

      John Hughes
      June 2017
      CTEQ Annotations on Film
    Recent
    • The Lure (Agnieszka Smoczyńska, 2015)

      Faith Everard
      December 2022
    • Othering Heights: The Queerest of the Queer in Rosa von Praunheim’s City of Lost Souls (1983)

      Cerise Howard
      December 2022
    • To walk away, you gotta leave something behind, or a long story short: Hedwig and the Angry Inch (2001)

      Cerise Howard
      December 2022
    • Lost Paradise: F.W. Murnau’s Tabu: A Story of the South Seas (1931)

      Andréas Giannopoulos
      November 2022
    • Nosferatu: Eine Symphonie des Grauens (Nosferatu: A Symphony of Horror, F.W. Murnau, 1922)

      Martyn Bamber
      November 2022
    • Sunrise: A Song of Two Humans (F.W. Murnau, 1927)

      Jacob Agius
      October 2022
  • Support Senses
  • About Senses of Cinema
    • Contact Us
    • Staff
    • Thank you to our Patrons
    • Style Guide
  • Latest
  • Past Issues
  • World Poll
  • Podcast
  • Advertisers
  • Proposals
  • Call for Submissions
  • Shop
  • Subscribe
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.

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

Staff Members

Editors:

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

Contributing Partner

Donate to Senses

 

Click here to make a donation. If you are an Australian resident, any donations over $2 are tax deductible.

 

Search

  • About Senses of Cinema
  • Contact Us
  • Privacy
  • Proposals
  • Advertisers
  • Staff