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      Waiting for the Prince - An Interview with Béla Tarr

      Michael Fleming
      February 2001
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      Khatuna Maisashvili
      January 2023
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      Laleen Jayamanne
      January 2023
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      Bruce Jackson
      January 2023
    • More than Mimicry: On Puppets and Interdependency in Annette and The Double Life of Véronique

      Indigo Bailey
      January 2023
    • After Structural Film: The Conceptual films of Morgan Fisher

      Arindam Sen
      January 2023
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      Dirk de Bruyn
      January 2023
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    • The Living Theatre: An Interview with Paul Felten and Joe DeNardo about their film Slow Machine

      Michael Fleming
      October 2020
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      Tara Judah
      January 2023
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      Maria Giovanna Vagenas
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      Toby Wu
      January 2023
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      David A. Gerstner
      January 2023
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      Arindam Sen
      January 2023
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      Hamed Sarrafi
      January 2023
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      Michael Fleming
      December 2003
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      Giampiero Frasca
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      Jeremy Carr
      October 2022
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      Hal Young
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      Sara Delshad
      October 2022
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      Sanya Osha
      May 2022
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      Michael Fleming
      January 2022
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      Jacob Agius
      October 2022
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      May 2022
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      Mark Lager
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      A Few Notes on German Cinema at the 67th Berlin Film Festival

      Michael Fleming
      March 2017
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      Leonardo Goi
      January 2023
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      Kohei Usuda
      January 2023
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      Marc Raymond
      January 2023
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      Glenn D'Cruz
      January 2023
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      Tara Judah
      January 2023
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      Neil Young
      January 2023
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      Constructing An African-American Film History In the Absence of Films: Uplift Cinema: The Emergence of African American Film and the Possibility of Black Modernity, by Allyson Nadia Field

      Michael Fleming
      July 2016
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      Abel Muñoz Hénonin
      January 2023
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      Marc Raymond
      January 2023
    • In search of a Global Filipino Auteur: Sine ni Lav Diaz, edited by Parichay Patra and Micheal Kho Lim

      Pujita Guha
      January 2023
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      Tom Boniface-Webb
      October 2022
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      Corey P. Cribb
      October 2022
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      Emmanuel Bonin
      July 2022
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      The 4 Adventures of Reinette and Mirabelle

      Michael Fleming
      April 2005
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      Jacob Agius
      February 2023
    • The Lure (Agnieszka Smoczyńska, 2015)

      Faith Everard
      December 2022
    • Othering Heights: The Queerest of the Queer in Rosa von Praunheim’s City of Lost Souls (1983)

      Cerise Howard
      December 2022
    • To walk away, you gotta leave something behind, or a long story short: Hedwig and the Angry Inch (2001)

      Cerise Howard
      December 2022
    • Lost Paradise: F.W. Murnau’s Tabu: A Story of the South Seas (1931)

      Andréas Giannopoulos
      November 2022
    • Nosferatu: Eine Symphonie des Grauens (Nosferatu: A Symphony of Horror, F.W. Murnau, 1922)

      Martyn Bamber
      November 2022
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more articles... more articles... more articles... more articles... more articles...

Author Michael Fleming

Michael Fleming

Michael Fleming is a PhD candidate in Cinema Studies at the University of Melbourne. He is researching director John Schlesinger in the context of the changing nature of British Cinema in the 1960s. His particular interest is the retreat from realism to surrealism as a cultural phenomenon of the sixties.

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The British New Wave: A Certain Tendency? by B.F. Taylor

Michael Fleming
April 2009
Book Reviews
We know immediately from the title that this book accepts the existence of a “New Wave” in British cinema. B.F. Taylor begins with an unambiguous canon. For the record, his series in full is: Room at the Top...

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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