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      'The Way of the Samurai' - Ghost Dog, Mishima, and Modernity's Other

      Lukas Brasiskis
      September 2000
      Feature Articles
    Recent
    • 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
  • Interviews
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    • Ecofeminism With Marwa Arsanios

      Lukas Brasiskis
      May 2021
      Interviews
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    • “Resistance is the driving force of the film”: An Interview with Davy Chou

      Maja Korbecka
      July 2022
    • The Plains: Conversation with David Easteal

      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
  • Great Directors
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    • Weir, Peter

      Lukas Brasiskis
      February 2005
      Great Directors
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    • Smith, Jack: Travails of an Underground Artist

      Sanya Osha
      May 2022
    • Desai, Manmohan

      Darragh O’Donoghue
      May 2022
    • Curtiz, Michael

      Jeremy Carr
      January 2022
    • Lau, Kar-leung

      Tom Cunliffe
      January 2022
    • Tahimik, Kidlat 

      Charles Fairbanks
      January 2022
    • Lucas, George

      Dan Golding
      July 2021
  • Great Actors
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    • Lansbury, Angela

      Lukas Brasiskis
      May 2022
      Great Actors
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    • Caine, Michael

      Wheeler Winston Dixon
      May 2022
    • Garbo, Greta

      Jeremy Carr
      May 2022
    • Magee, Patrick

      Mark Lager
      May 2022
    • Cage, Nicolas

      Jessica Balanzategui
      January 2022
  • Festival Reports
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      Above the Underground: A Report on the 7th Annual Chicago Underground Film Festival and an Interview with Guest of Honor Alejandro Jodorowsky

      Lukas Brasiskis
      September 2000
      Festival Reports
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    • Sundance Film Festival 2022

      Bérénice Reynaud
      August 2022
    • Is this the real life? Is this just fantasy? The 56th Karlovy Vary International Film Festival

      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
  • Book Reviews
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      Simple Acts of Annihilation: La Dolce Morte: Vernacular Cinema and the Italian Giallo Film by Mikel J. Koven

      Lukas Brasiskis
      August 2007
      Book Reviews
    Recent
    • 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
  • CTEQ
    Random
    • Safety Last!

      Safety Last! (Fred Newmeyer, Sam Taylor, 1923)

      Lukas Brasiskis
      March 2017
      CTEQ Annotations on Film
    Recent
    • 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 Lukas Brasiskis

Lukas Brasiskis

Lukas Brasiskis is a PhD candidate in the Department of Cinema Studies at New York University. He is a co-author of two books in Lithuanian: the collective monograph Film and Philosophy (Vilnius University Press, 2013) and A Short Film History (VKS Press, 2012). In his current academic researches Brasiskis analyses the spatio-temporal aspects of Eastern European cinema, examines various cinematic forms of reenactment and archival appropriation and their implications for screen memories, and explores intersections of philosophy, film and contemporary art.

Hard to Be a God

2013: Hard to Be a God (Aleksei German)

Lukas Brasiskis
December 2017
100 Years of Soviet Cinema
Hope in Despair, and Beauty in Revulsion: Trudno byt bogom (Aleksei German, 2013) Labeled as one of the biggest perfectionists among his peers, Russian film director Aleksei Yuryevich German is one of the most...

What is New about “New Europe” in Contemporary European Cinema?: East, West and Centre:. Reframing Post-1989 European Cinema by Michael Gott and Todd Herzog (eds.)

Lukas Brasiskis
September 2016
Book Reviews
Despite the fact that twenty-six years have passed since the collapse of the Soviet Union, and thirteen years have passed since the first group of formerly communist countries joined the European Union, an East...

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

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