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      Off-Key: What the Critics Missed in The Singing Detective

      Martyn Bamber
      February 2004
      Feature Articles
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    • Bigger than life, or stranger: Pedro Costa’s Vitalina Varela: Part II

      Thomas Austin
      May 2022
    • Fire Machines: Titane and the Pyrotechnics of Love

      Emmalea Russo
      May 2022
    • Cringing Violently: Reparative Watching, Phenomenology and Discomfort in Australian Cinema

      Caitlin Wilson
      May 2022
    • Deleuzian Rumblings: Residue by Desire Machine Collective

      Vedant Srinivas
      May 2022
    • Acts of Faith: On Benedetta (Paul Verhoeven, 2021)

      Peter Verstraten
      May 2022
    • ‘Is The Power of the Dog a New Zealand film? National Identity, Genre and Jane Campion’

      Alfio Leotta & Missy Molloy
      May 2022
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    • A Joyride through Technological Change: Interview with David Cox

      Martyn Bamber
      January 2022
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      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
    • The Creative Leap to Fluid Consciousness: An Encounter with Ashley McKenzie

      Brigitta Wagner
      May 2022
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      Nolan Kelly
      May 2022
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      Martyn Bamber
      July 2003
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      Sanya Osha
      May 2022
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      Darragh O’Donoghue
      May 2022
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      Jeremy Carr
      January 2022
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      Tom Cunliffe
      January 2022
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      Charles Fairbanks
      January 2022
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      Dan Golding
      July 2021
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      Martyn Bamber
      May 2022
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      Joy McEntee
      May 2022
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      Wheeler Winston Dixon
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      Jeremy Carr
      May 2022
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      Jessica Balanzategui
      January 2022
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      10 Years Young: The Shanghai International Film Festival

      Martyn Bamber
      November 2007
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      Madeleine Collier
      May 2022
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      Tara Judah
      May 2022
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      Tara Judah
      May 2022
    • From Within the Umbra of History: A Few Things about the Films of Rainer Komers, Sohrab Hura and Sylvia Schedelbauer

      Anuj Malhotra
      May 2022
    • Film Goes On (?): The 23rd Jeonju International Film Festival

      Marc Raymond
      May 2022
    • Play-Doc 2022: António Campos, a secret filmmaker

      Ricardo Vieira Lisboa
      May 2022
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      The Imp of Mischief: “Have You Seen…?” A Personal Introduction to 1,000 Films by David Thomson

      Martyn Bamber
      April 2009
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    • 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
    • Foraging in a Transforming Mediascape: Cinemas Dark and Slow in Digital India, by Lalitha Gopalan

      Megan Carrigy
      July 2021
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    • Stuff And Dough

      Off the Road Again: Stuff and Dough (Cristi Puiu, 2001)

      Martyn Bamber
      September 2017
      CTEQ Annotations on Film
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    • 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
    • Fritz Lang’s Spione (1928)

      Shari Kizirian
      May 2022
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Author Martyn Bamber

Martyn Bamber

Martyn Bamber has previously written for Senses of Cinema and is a contributor to the book: Are You in the House Alone? A TV Movie Compendium: 1964–1999.

Despair (Rainer Werner Fassbinder, 1978)

Martyn Bamber
April 2021
CTEQ Annotations on Film
Rainer Werner Fassbinder’s first English language film Despair (1978) is a fascinating entry in his filmography: while it is set in Germany, it is his first film in English, with iconic English actor Dirk Bogar...

Murder, Mystery & Music: “Jaan Pehechaan Ho” in Gumnaam (1965)

Martyn Bamber
October 2020
Pop Music in Film
Seeing the murder mystery thriller Gumnaam (The Unknown, Raja Nawathe, 1965) for the first time this year, the film’s opening song and dance number is a standout pop music sequence. Gumnaam starts with two murd...

A Man from the Boulevard des Capucines (Chelovek s bulvara Kaputsinov, Alla Surikova, 1987)

Martyn Bamber
October 2020
CTEQ Annotations on Film
While the Western is primarily known as an American cinematic institution, this has not stopped other countries from enthusiastically embracing the genre, the most notable being Italy with the ‘Spaghetti’ Weste...

Les Enfants Terribles (Jean-Pierre Meville, 1950)

Martyn Bamber
July 2020
CTEQ Annotations on Film
Writing about Les Enfants Terribles in mid-2020 during a global pandemic, it is tempting to draw parallels between the seclusion of real-world citizens in their homes and the self-imposed isolation of the film’...

Solitary Cinéastes: Filmmakers and Filmmaking in Isolation

Martyn Bamber
July 2020
Cinema in the Age of COVID
“A repetition of identical days, the only variant of which is the cinephile menu”. – Ne croyez surtout pas que je hurle (Just Don't Think I'll Scream, Frank Beauvais, 2019) “Si les temps sont durs et mauvais...

Kiss Me, Stupid (Billy Wilder, 1964)

Martyn Bamber
April 2020
CTEQ Annotations on Film
Skewering celebrity vanity, the allure of success and the obsession with fame, Kiss Me, Stupid (1964) takes a long, hard look at these subjects and is simultaneously fascinated and appalled, amused and aghast a...

The Servant (Joseph Losey, 1963)

Martyn Bamber
April 2020
CTEQ Annotations on Film
The subject of The Servant (1963) is the English class system and its tensions in swinging sixties London. The battleground for this class struggle is mainly confined to a single location, a house owned by Tony...

The Old Dark House: Cinemagoing in the age of streaming

Martyn Bamber
October 2019
This is what defined cinema in the 2010s
How has cinema changed over the last 10 years? This question is not about the art or business of cinema; it refers to the cinemagoing experience itself. Arguably, the movement that has had – and continues to ha...

The Terence Davies Trilogy (Terence Davies, 1976/1980/1983)

Martyn Bamber
October 2019
CTEQ Annotations on Film
The autobiographical films of Terence Davies are not simply nostalgic journeys into the director’s past; they are piercing insights into the filmmaker’s turbulent early life. While Distant Voices, Still Lives (...

A New Leaf (Elaine May, 1971)

Martyn Bamber
July 2019
CTEQ Annotations on Film
Elaine May’s film directing debut, A New Leaf (1971) is a pitch-black comedy centred on Henry Graham (Walter Matthau), an affluent, self-absorbed bachelor, who finds his expensive lifestyle in jeopardy due to h...

Early Spring (Yasujiro Ozu, 1956)

Martyn Bamber
March 2019
CTEQ Annotations on Film
Sōshun (Early Spring, 1956) follows Yasujirō Ozu’s classic Tōkyō monogatari (Tokyo Story, 1953) in continuing to develop the director’s characteristic themes, including the demands of family life, the maintenan...

Moontide (Archie Mayo & Fritz Lang, 1942)

Martyn Bamber
October 2018
CTEQ Annotations on Film
Emerging from a troubled production history, Moontide seems overlooked in the annals of film history in general, and the story of 20th Century-Fox in particular. For instance, the entry on Moontide in The Films...

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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