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    • Richard Linklater’s Boyhood and the problem of aging in film

      Ruairí McCann
      July 2019
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      Max Bowens & Candice Strongwater
      July 2026
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      Colette de Castro
      July 2026
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      Salvador Carrasco
      July 2026
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      Pritish Das
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      Leonard Schwartz
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      Jens Andermann
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      Ruairí McCann
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      Đăng Tùng Bạch
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      Arindam Sen
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      Ruairí McCann
      July 2002
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      Marc Raymond
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      Daichi Ogi
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      Susana Bessa
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      Stefan Solomon
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      Maja Korbecka
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      Botagoz Koilybayeva
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      Ruairí McCann
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      Mark Seton
      July 2026
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      Ragib Rahman
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      Jiahan Olivia Lin
      July 2026
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      Wheeler Winston Dixon
      May 2026
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      Ashish Dwivedi
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      Scott Robinson
      May 2026
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      Ruairí McCann
      May 2000
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      Austin Lancaster
      October 2026
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      Inge Fossen
      September 2026
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      Alexia Kannas
      September 2026
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      Darragh O’Donoghue
      September 2026
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      Kyle Sossamon
      September 2026
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      Ian Olney
      September 2026
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Author Ruairí McCann

Ruairí McCann

Ruairí McCann is an Irish writer, programmer, illustrator and musician, born and based in Belfast but raised in County Sligo. He's co-editor of Ultra Dogme, a contributing editor to photogénie, and has contributed to aemi, MUBI Notebook, Documentary Magazine, Film Hub NI, Sight & Sound and Screen Slate, among others. Katherine Waugh is filmmaker, writer and curator whose trans-disciplinary practice includes films such as her film essay The Art of Time with Fergus Daly and curatorial projects drawing on philosophy, literature and film, many in collaboration with Sylvere Lotringer including Schizo-Culture: Cracks in the Street and a number of projects on Antonin Artaud. Fergus Daly is the co-author of a book on Leos Carax. His recent films include Melmoth the Wanderer 1820-2020 (2020), An Irish Georg Trakl (2021) and The Mirror of Possible Worlds: Kiarostami on Aran (2021). Nicole Brenez wrote about his work here.

The Animal Side: Interview with Katherine Waugh & Fergus Daly

Ruairí McCann
May 2024
Film and the Nonhuman
I See a Darkness (2023) delves into the shadow archive of image-capture technologies, and, with an emphasis on the non-human and animal, raises questions about the streamlining of cinematographic technologies i...

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.

Senses of Cinema was founded on stolen lands. We acknowledge the sovereignty of the Wurundjeri and Boon Wurrung people of the Kulin nation and support all Aboriginal people on their paths to self-determination.

 

© Senses of Cinema 2019

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Editors:

Leonardo Goi • Abel Muñoz-Hénonin • Fiona Villella • Alex Williams • Nace Zavrl

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