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  • Dossiers
  • Features
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    • Marker, Resnais, Varda: Remembering the Left Bank Group

      Joshua Glick and Masha Shpolberg
      September 2009
      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

    • Horse-People and White Voices: Neoliberalism and Race in Sorry to Bother You

      Thomas Austin
      May 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

    • 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 Creative Leap to Fluid Consciousness: An Encounter with Ashley McKenzie

      Joshua Glick and Masha Shpolberg
      May 2022
      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
  • Great Directors
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    • Jerry Lewis

      Lewis, Jerry

      Joshua Glick and Masha Shpolberg
      July 2016
      Deconstructing Jerry: Lewis as Director, Great Directors
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    • Thompson, J. Lee

      Jeremy Carr
      May 2023

    • Beresford, Bruce

      Benjamin Kooyman
      May 2023

    • Fosse, Bob

      Sherry Johnson
      January 2023

    • Cimino, Michael

      Giampiero Frasca
      January 2023

    • Sorrentino, Paolo

      Jeremy Carr
      October 2022

    • Craven, Wes

      Hal Young
      October 2022
  • Great Actors
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      Joshua Glick and Masha Shpolberg
      May 2023
      Great Actors
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      Eloise Ross
      August 2023

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      Jacob Agius
      October 2022

    • Lansbury, Angela

      Joy McEntee
      May 2022

    • Caine, Michael

      Wheeler Winston Dixon
      May 2022

    • Garbo, Greta

      Jeremy Carr
      May 2022

    • Magee, Patrick

      Mark Lager
      May 2022
  • Festival Reports
    Random

    • Thessaloniki International Film Festival: Reflexivity and Realism in the Romanian Retrospective

      Joshua Glick and Masha Shpolberg
      March 2019
      Festival Reports
    Recent

    • 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
  • Book Reviews
    Random

    • The Adventure of the Real: Jean Rouch and the Craft of Ethnographic Cinema by Paul Henley

      Joshua Glick and Masha Shpolberg
      September 2013
      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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      Horror of Dracula

      Joshua Glick and Masha Shpolberg
      February 2005
      CTEQ Annotations on Film
    Recent

    • 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, 1918)

      Darragh O’Donoghue
      September 2023

    • The Fading Kouros of Razzia sur la chnouf (Henri Decoin, 1955)

      Grant Bromley
      September 2023

    • Scenes from a Manhunt – Panique (Julien Duvivier, 1946)

      Rolland Man
      August 2023
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Author Joshua Glick and Masha Shpolberg

Joshua Glick and Masha Shpolberg

Joshua Glick is Assistant Professor of English and Film Studies at Hendrix College and Masha Shpolberg is a Ph.D. Student in Film and Media Studies and Comparative Literature at Yale University.

Hot Springs film festival

Hot Springs Documentary Film Festival    

Joshua Glick and Masha Shpolberg
December 2015
Festival Reports
The Arlington Hotel, the nerve centre of the Hot Springs Documentary Film Festival, feels electric come October. Built in 1924, the Spanish Colonial-style hotel hosts most of the festival’s screenings, making f...

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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