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      Maurice Pialat (1925 – 2003) – A Tribute

      Nicholas Bugeja
      March 2003
      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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    • “Sometimes it is easier to forget.” - A Conversation with Dieudo Hamadi

      Nicholas Bugeja
      January 2021
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    • 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
    • Interview with Albert Birney & Kentucker Audley

      Nolan Kelly
      May 2022
    • The Creative Leap to Fluid Consciousness: An Encounter with Ashley McKenzie

      Brigitta Wagner
      May 2022
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      Nicholas Bugeja
      January 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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      Nicholas Bugeja
      May 2022
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      Wheeler Winston Dixon
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      Jeremy Carr
      May 2022
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      Mark Lager
      May 2022
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      Jessica Balanzategui
      January 2022
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      An Industry of Philanthropy – Balkan film at the 43rd International Thessaloniki Film Festival

      Nicholas Bugeja
      January 2003
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    • Day by Day: IFFR 2022

      Madeleine Collier
      May 2022
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      Tara Judah
      May 2022
    • Absence and Presence at Internationale Kurzfilmtage Oberhausen. 68.

      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
  • Book Reviews
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    • First Comes Love, then Comes Marriage… then What?: I Do and I Don’t: a History of Marriage in the Movies by Jeanine Basinger

      Nicholas Bugeja
      September 2013
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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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      The Story of the Late Chrysanthemums

      Nicholas Bugeja
      July 2005
      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 Nicholas Bugeja

Nicholas Bugeja

Nicholas Bugeja is a writer and editor. He has written for the ACMI blog, Film Matters and Overland. Nicholas is particularly interested in 1970s American cinema, post-war Japanese cinema, Indigenous Australian cinema, and the links between film and philosophy.

A journey through 1930s Japan: Mr. Thank You (Hiroshi Shimizu, 1936)

Nicholas Bugeja
April 2020
CTEQ Annotations on Film
The bus driver (Ken Uehara) at the heart of Mr Thank You derives his eponymous sobriquet from what he says to those roving through rural Japan when they let his bus pass. “Thank you,” the bus driver invariably ...

Romance, escapism and war in Ornamental Hairpin (Hiroshi Shimizu, 1941)

Nicholas Bugeja
April 2020
CTEQ Annotations on Film
In Hiroshi Shimizu’s 1941 film, the titular object of the ornamental hairpin firmly holds the story in place; the lynchpin of it, so to speak. On a fateful day at an isolated yet serene rural inn, Mr Nanmura (C...

The Past, Present and Future of Toomelah (Ivan Sen, 2011)

Nicholas Bugeja
October 2019
CTEQ Annotations on Film
The bulk of Ivan Sen’s cinematic oeuvre – documentary and fiction (not that there is always great disparity between the two) – converges around a set of core themes: the intractable legacy of British colonialis...

Death, Neglect and Conspiracy in Mystery Road (Ivan Sen, 2013)

Nicholas Bugeja
October 2019
CTEQ Annotations on Film
A dead Indigenous girl, no more than 16 years of age, is discovered in a drain underneath a highway in the aptly named Massacre Creek area. The drain is flanked by the wide, impossible expanses of outback Austr...

A Multitude of Meanings: The Long Take: Critical Approaches, ed. John Gibbs and Douglas Pye

Nicholas Bugeja
March 2019
Book Reviews
In the cinema, the long take is an instrument of multifaceted – sometimes paradoxical – power. In a film like Ladri di Biciclette (Bicycle Thieves, Vittorio de Sica, 1948) or Deux jours, une nuit (Two Days, One...

A City in Transition in Taipei Story (Edward Yang, 1985)

Nicholas Bugeja
October 2018
CTEQ Annotations on Film
The principal discovery being made by Taiwanese directors is their own history This new field of inquiry must negotiate the coexistence of colonizer with colonized; Confucianism with capitalism, democracy, an...

Love and Suffocation in Man Is Not a Bird (Dušan Makavejev, 1965)

Nicholas Bugeja
October 2018
CTEQ Annotations on Film
Makavejev aims to tear down and rebuild the basic blocks of moviemaking itself. Toggling easily, even imperceptibly, between fiction and documentary, his films can appear to be vérité portraits of everyday life...

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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© Senses of Cinema 2019

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Editors:

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

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