• 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
    • When Violence is an Axe and Romance is Dark: An Interview with Catherine Breillat

      Mary M. Wiles
      March 2011
      Feature Articles
    Recent
    • A Face in the Crowd: Ritual, Mythological and Political contexts in Stranger and the Fog

      Amir Hossein Siadat
      November 2023
    • Consensus Empire: Empowering the Spectator through Letterboxd Reviews

      Tyler Thier
      November 2023
    • We Can’t Save The Victims: Hauntology in Tony Scott’s Déjà Vu

      Aryan Tauqeer Khawaja
      November 2023
    • Situating Lucile Hadžihalilović’s Good Boys Use Condoms

      Oliver Kenny
      November 2023
    • Songs of Joy and Melancholy: On My Darling in Stirling

      Frankie Kanatas
      November 2023
    • Film Criticism and the Grotesque: A Very American Tár & an Oz Elvis

      Laleen Jayamanne
      August 2023
  • Interviews
    Random
    • “You Cannot Whitewash the Truth”- A Conversation with Arie and Chuko Esiri

      Mary M. Wiles
      July 2020
      Interviews
    Recent
    • An Interview with Delphine Girard

      Gary M. Kramer
      November 2023
    • Writing Like Water: An Interview with Paul Preciado

      Mike Hoolboom
      November 2023
    • Mapping Global Horror: Academic roundtable

      Amanda Barbour
      November 2023
    • Mapping Global Horror: Filmmaker roundtable

      Amanda Barbour
      November 2023
    • Our Body is a Battleground: An Interview with Claire Simon

      Öykü Sofuoğlu
      November 2023
    • “Irritation Is the Most Important Tool Any Artist Has”: An Interview with Jessica Hausner

      Jaimey Fisher & Gerd Gemünden
      November 2023
  • Great Directors
    Random
    • Demy, Jacques

      Mary M. Wiles
      May 2003
      Great Directors
    Recent
    • Rou, Aleksandr

      Deborah Allison
      November 2023
    • Woo, John

      Jeremy Carr
      November 2023
    • 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
  • Great Actors
    Random
    • Garbo, Greta

      Mary M. Wiles
      May 2022
      Great Actors
    Recent
    • Taylor, Elizabeth

      Gabrielle Stecher
      November 2023
    • Stanwyck, Barbara

      Eloise Ross
      August 2023
    • Bogart, Humphrey

      Wheeler Winston Dixon
      May 2023
    • Divine

      Jacob Agius
      October 2022
    • Lansbury, Angela

      Joy McEntee
      May 2022
    • Caine, Michael

      Wheeler Winston Dixon
      May 2022
  • Festival Reports
    Random
    • BAFICI 2016

      The End of Youth: BAFICI 2016

      Mary M. Wiles
      July 2016
      Festival Reports
    Recent
    • In Search of Indie’s Soul: Chinese Independent Cinema Today and Beyond

      Xiang Fan
      November 2023
    • Amiko haunts the 23rd Nippon Connection

      Roger Macy
      November 2023
    • Notes From The 26th San Francisco Silent Film Festival

      Jonathan Mackris
      November 2023
    • Magnetizing and still Putting on Weight – the 37th Il Cinema Ritrovato

      Roger Macy
      November 2023
    • Dealing with the past, and present, at the 29th Sarajevo Film Festival

      Randy Malamud
      November 2023
    • 76th Locarno Film Festival: Culture on the Edge, Tumbling Into Futures Unknown

      Jaimey Fisher
      November 2023
  • Book Reviews
    Random
    • Thinking Back, Thinking Forward: Utopian Television: Rossellini, Watkins, and Godard Beyond Cinema, by Michael Cramer

      Mary M. Wiles
      March 2018
      Book Reviews
    Recent
    • Facing the Other: Keyvan Manafi’s The Eye of the Cinematograph: Levinas and Realisms of the Body

      M. Sellers Johnson
      November 2023
    • A Man of Genius Has Been Seldom Ruined But By Himself: Ethan Warren’s The Cinema of Paul Thomas Anderson

      Hannah Bonner
      November 2023
    • 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
  • CTEQ
    Random
    • The Whole Family Works: Nagisa Oshima’s Boy

      Mary M. Wiles
      June 2014
      CTEQ Annotations on Film
    Recent
    • Western

      Martyn Bamber
      December 2023
    • History and Oblivion: Radu Jude tells a “new” story an old way with Aferim!

      Shari Kizirian
      December 2023
    • Silver City

      Grace Boschetti
      November 2023
    • The Golden Cage: Ayten Kuyululu and Australian Cinema

      Adrian Danks
      November 2023
    • Twice a Man

      Darragh O’Donoghue
      November 2023
    • A Rainha Diaba

      Mateus Nagime
      November 2023
  • 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 Contributions
  • Shop
  • Subscribe
more articles... more articles... more articles... more articles... more articles...

Author Mary M. Wiles

Mary M. Wiles

Mary M. Wiles lectures in the Cinema Studies Program at the University of Canterbury, New Zealand.

Jacques Rivette Hurlevent

From the Brontëan Text to the Tableaux: Jacques Rivette’s Hurlevent

Mary M. Wiles
July 2016
Jacques Rivette
After having completed the final cut of L’amour par terre in late 1983, Jacques Rivette was at liberty to attend the retrospective exhibition devoted to the work of artist and theatre decorator Balthus (Balthas...

L’amour fou: A Revolution in Realism, Reflexivity, and Oneiric Reverie

Mary M. Wiles
December 2011
Feature Articles
An excerpt on one of the masterpieces of 6os cinema from Mary Wiles' forthcoming book on Jacques Rivette, published by Illinois University Press.

“A Gentle Voice in a Noisy Room”: An Interview with New Zealand Filmmaker Gaylene Preston

Mary M. Wiles
October 2010
Feature Articles
Attentive to oral histories, Gaylene Preston has fashioned a distinctive body of work over the course of decades, inclusive of her most recent film Home by Christmas, a companion piece to her 1995 documentary War Stories Our Mothers Never Told Us.

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 • Tara Judah • Abel Muñoz-Hénonin • Fiona Villella • Nace Zavrl

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