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  • Dossiers
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    • Either and Or: On Terrence Malick's Tree of Life

      Reno Lauro
      October 2011
      Feature Articles
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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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    • Locarno Interview: Ying Liang and his Family Tour

      Reno Lauro
      March 2019
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      Maria Giovanna Vagenas
      March 2023
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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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      Reno Lauro
      April 2004
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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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      Reno Lauro
      October 2022
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      Joy McEntee
      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
  • Festival Reports
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    • Tiradentes Film Festival review 2015

      Neighbourhood Realisms and the Return of Utopia: a Dive into the Effervescence of Contemporary Brazilian Cinema

      Reno Lauro
      June 2015
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    • Fire Within: The 60th Viennale

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

      Marc Raymond
      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
    • 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
  • Book Reviews
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    • Response to Dimitrios Latsis’ review ofFilm, Art, New Media: Museum without Walls

      Reno Lauro
      June 2013
      Book Reviews
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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
  • CTEQ
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    • G’day Comrade: Cecil Holmes’s Three in One (1956)

      Reno Lauro
      April 2020
      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 Reno Lauro

Reno Lauro

Reno Lauro received his PhD from the University of St. Andrews Institute for Theology, Imagination and the Arts and spent 18 months working for Terrence Malick on The Tree of Life and Voyage of Time. He currently teaches Cinema Studies and is working on various writing projects. Fortress Press will publish his book Synergy and Control: Life in the Age of the Screen in 2016.

film worlds

Film Worlds: A Philosophical Aesthetics of Cinema by Daniel Yacavone

Reno Lauro
March 2016
Book Reviews
  Imagine a reality where Terrence Malick, possibly one of the brightest philosophical minds of his generation, completes a doctoral dissertation on the concept of “World” in Kierkegaard, Heidegger, and...

The Sinuous Line of World and Screen: On D.N. Rodowick’s Elegy for Theory and Philosophy’s Artful Conversations

Reno Lauro
March 2015
Book Reviews
Feature image: Star Wars: The Phantom Menace In the final pages of Cinema 2: The Time-Image, published in 1985, Gilles Deleuze concludes by saying, “The theory of cinema does not bear on the cinema, but on th...

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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