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    • Basma Alsharif

      Ouroboros and the Cycle of Violence: An Interview with Basma Alsharif

      Luke Goodsell
      December 2017
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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
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    • Daydreaming Through Boundaries: A Conversation with Queena Li

      Luke Goodsell
      May 2021
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      Marco Abel
      August 2023
    • The Klezmer Project (Adentro Mío Estoy Bailanado): A Conversation with Leandro Koch and Paloma Schachmann

      Maria Giovanna Vagenas
      August 2023
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      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
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      Brigitta Wagner
      May 2023
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      Luke Goodsell
      July 2003
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      Jeremy Carr
      May 2023
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      Benjamin Kooyman
      May 2023
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      Sherry Johnson
      January 2023
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      Giampiero Frasca
      January 2023
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      Jeremy Carr
      October 2022
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      Hal Young
      October 2022
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      Luke Goodsell
      May 2022
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      Eloise Ross
      August 2023
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      Wheeler Winston Dixon
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      Jacob Agius
      October 2022
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      May 2022
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      Jeremy Carr
      May 2022
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      Mark Lager
      May 2022
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      Luke Goodsell
      June 2014
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      Marc Raymond
      August 2023
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      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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      The Boy From Oz: Blood and Tinsel: A Memoir by Jim Sharman

      Luke Goodsell
      April 2009
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    • 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
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      Pickup on South Street

      Luke Goodsell
      July 2000
      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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Author Luke Goodsell

Luke Goodsell

Luke Goodsell is a freelance editor and writer. He is the contributing editor at 4:3, and has written for The Monthly, ABC’s Final Cut, SBS Movies, Melbourne International Film Festival and elsewhere.

High Sierra

California Dreamin’: High Sierra (Raoul Walsh, 1941)

Luke Goodsell
September 2017
CTEQ Annotations on Film
“Guys like you and Johnny Dillinger,” goes the famous line from Raoul Walsh’s exhilarating gangster classic High Sierra (Raoul Walsh, 1941), “are just rushing toward death.” The words refer to Humphrey Bogart’s...
Flesh + Blood

Hauer’d to be a God: Flesh + Blood (Paul Verhoeven, 1985)

Luke Goodsell
June 2017
CTEQ Annotations on Film
Against a verdant, sun-kissed field, a young betrothed couple – the handsome, callo­w hero and his flaxen-haired princess bride – swoon and banter. “Feel how my heart is beating for you,” she coos, pulling his ...
Privilege

Privilege (Peter Watkins, 1967)

Luke Goodsell
March 2017
Love Letters: 1967
“Smile on your brother, everybody get together, try to love one another right now.” – The Youngbloods, “Get Together” “I hate you! I hate you! I hate you!” – Steven Shorter, Privilege In 1967, rock ‘n’ roll...

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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