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    • To Experience Song of Ceylon

      Polona Petek
      April 2012
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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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    • Locarno Interview: Ying Liang and his Family Tour

      Polona Petek
      March 2019
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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
    • 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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      Polona Petek
      December 2012
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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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      Polona Petek
      May 2022
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      Joy McEntee
      May 2022
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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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    • The Politics of Body Parts, Programming and the Redistribution of Land: The 49th Viennale

      Polona Petek
      February 2012
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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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      Film Theory in Translation: Chinese Films in Focus: 25 New Takes edited by Chris Berry

      Polona Petek
      April 2004
      Book Reviews
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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 Impotence of Asceticism: Luis Buñuel’s Simón del Desierto

      Polona Petek
      September 2013
      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 Polona Petek

Polona Petek

Polona Petek has a PhD in Cinema Studies from the University of Melbourne. Her first monograph, Echo and Narcissus: Echolocating the Spectator in the Age of Audience Research (Cambridge Scholars Publishing, 2008), argues for a productive nexus between theorisations of spectatorship and the currently more fashionable audience research. Petek’s latest research focuses on the changes in cinema brought about by globalisation and turbomobility, particularly in European cinema.

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The Cinema of Small Nations edited by Mette Hjort and Duncan Petrie

Polona Petek
August 2008
Book Reviews
Film scholarship is undergoing a paradigm shift. In the past decade or so, a significant body of work has emerged, which reflects the opinion that the nation-state – once the undisputed primary unit of economic...
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Reinventing European Cinema Studies? The New European Cinema: Redrawing the Map by Rosalind Galt and Crossing New Europe: Postmodern Travel and the European Road Movie by Ewa Mazierska and Laura Rascaroli

Polona Petek
May 2007
Book Reviews
The focus on European cinema is hardly a new development in film scholarship. European filmmakers and European national cinemas have been on the agenda of cinema studies ever since the inception of the discipli...
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Hitchcock’s Cryptonymies, Volume 1: Secret Agents by Tom Cohen

Polona Petek
February 2006
Book Reviews
American scholar Tom Cohen, whose areas of expertise include literature, cinema and cultural studies, gained international reputation with the publication of his first monograph, Anti-Mimesis from Plato to Hitc...
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History Films, Women, and Freud’s Uncanny by Susan E. Linville

Polona Petek
July 2005
Book Reviews
In her second monograph, Susan E. Linville, the author of Feminism, Film, Fascism: Women's Auto/Biographical Film in Postwar Germany (1), takes on a timely topic – the obsession of recent Hollywood cinema with ...

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