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    • Reclaiming the Warsaw Mermaids: Female Agency in ‘80s Communist Poland and The Lure

      Philip Cartelli
      May 2021
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    • 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
    • Values of Baz Luhrmann’s Elvis: A Carnival Ride

      Laleen Jayamanne
      January 2023
    • Fellini’s Memory: Amarcord

      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
    • This Body Keeps the Score: the films of Saidin Salkic

      Dirk de Bruyn
      January 2023
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    • Laying Bare the Anzac Legend: Interview with Köken Ergun

      Philip Cartelli
      October 2019
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      Tara Judah
      January 2023
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      Maria Giovanna Vagenas
      January 2023
    • Flesh Memories: Yeo Siew Hua’s Expanded Cinema in The Once and Future

      Toby Wu
      January 2023
    • In Search of Lost Time: An Interview with Christophe Honoré

      David A. Gerstner
      January 2023
    • Slow Fireworks: The Films of Amy Halpern

      Arindam Sen
      January 2023
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      Hamed Sarrafi
      January 2023
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      Philip Cartelli
      December 2018
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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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      Sara Delshad
      October 2022
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      Sanya Osha
      May 2022
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      Philip Cartelli
      October 2022
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      Joy McEntee
      May 2022
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      Mark Lager
      May 2022
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      Jessica Balanzategui
      January 2022
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      “Queers Being” and “Being Queer”: The 9th Annual queerDOC Documentary Festival

      Philip Cartelli
      February 2007
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    • Fire Within: The 60th Viennale

      Leonardo Goi
      January 2023
    • A Report on the Exhibition Threshold (works by Dirk de Bruyn, Guy Grabowsky & Mat Hughes)

      Glenn D'Cruz
      January 2023
    • Politics, Isolation, Pandemic: The 35th Tokyo International Film Festival

      Kohei Usuda
      January 2023
    • The Kids Aren’t Alright: The 27th Busan International Film Festival

      Marc Raymond
      January 2023
    • All the Pain and Exploitation: 66th London Film Festival

      Tara Judah
      January 2023
    • BABY, THE RAIN MUST FALL … on the Claude Sautet retrospective at the 70th San Sebastian International Film Festival

      Neil Young
      January 2023
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      The Age of Enlightenment: Anxiety? Revolution! The Explosion of World Cinema in the Sixties by Peter Cowie

      Philip Cartelli
      February 2005
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    • 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
    • In search of a Global Filipino Auteur: Sine ni Lav Diaz, edited by Parichay Patra and Micheal Kho Lim

      Pujita Guha
      January 2023
    • Philosophy for the Blockbuster Audience: Christopher Nolan: Filmmaker and Philosopher, by Robbie B. H. Goh

      Tom Boniface-Webb
      October 2022
    • Do we need Digital Tarkovsky?

      Corey P. Cribb
      October 2022
    • Trafic at 30, End of a Film Journal

      Emmanuel Bonin
      July 2022
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      The Atomic Cafe

      Philip Cartelli
      April 2004
      CTEQ Annotations on Film
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    • Pickpocket (Robert Bresson, 1959)

      Emma Fajgenbaum
      March 2023
    • I Remember: Amarcord (Federico Fellini, 1973)

      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
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Author Philip Cartelli

Philip Cartelli

Philip Cartelli holds a PhD in Media Anthropology from Harvard University, where he was a member of the Sensory Ethnography Lab, and a PhD in Sociology from the Ecole des hautes études en sciences sociales. His academic and critical writing has appeared in a variety of print and web publications and he has presented and discussed his audiovisual work and research in film festivals, contemporary art venues and conferences.

Berlin Critics Week 2017

Lost in Politics: the 3rd Berlin Critics’ Week

Philip Cartelli
March 2017
Festival Reports
Creating a new film festival in the same time and place as one of the world’s most venerable and large cinematic celebrations may seem like a futile task, but the third edition of the Berlin Critics’ Week (Woch...
P’tit Quinquin film analysis

Notes on Bruno Dumont’s P’tit Quinquin, or Something is Rotten in the North of France

Philip Cartelli
June 2015
Feature Articles
I. It’s the first one in the film – what is often dismissively labelled an establishing shot, as though all that it does is to set the stage for something else like an empty contextual vessel. But shots like t...

International Tourism: The 25th FID-Marseille Festival

Philip Cartelli
October 2014
Festival Reports
For the past twenty years, Marseille has been home to the largest urban development project in Europe, a redesign of the city’s aging and increasingly obsolete Mediterranean seaport infrastructure intended to a...

Finding the Centre: The 64th Berlinale

Philip Cartelli
March 2014
Festival Reports
Hito Steyerl’s 1998 film The Empty Centre follows the transformation of downtown Berlin’s Potsdamer Platz from a no-man’s land, once split in half by the Berlin Wall, to a central European Times Square, thick w...

When the “Real” is Not Enough: The 35th Cinéma du Réel

Philip Cartelli
June 2013
Festival Reports
The Cinéma du Réel in Paris has acquired a largely deserved reputation for operating outside of a non-fiction cinematic mainstream. Some of the works screened during its 35th edition, however, left it unclear w...

Quotidian Melancholy: Marcel Hanoun’s Une simple histoire

Philip Cartelli
December 2012
Feature Articles
Cinephiles around the world mourned Chris Marker’s passing earlier this year, while the death of another avant-garde filmmaker and former countryman of Marker’s has largely gone unnoticed aside from a few annou...

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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