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      Dziga Vertov: The Idiot

      Salvador Carrasco
      November 2006
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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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    • “You Cannot Whitewash the Truth”- A Conversation with Arie and Chuko Esiri

      Salvador Carrasco
      July 2020
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      Savina Petkova
      May 2022
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      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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      Salvador Carrasco
      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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      Salvador Carrasco
      January 2022
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      Joy McEntee
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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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      For Love or Money? The 49th Melbourne International Film Festival Reviewed

      Salvador Carrasco
      September 2000
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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
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      Ricardo Vieira Lisboa
      May 2022
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    • Millennial Cinema: Memory in Global Film. Ed. Amresh Sinha and Terence McSweeney.

      Salvador Carrasco
      March 2014
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      Kyle Barrowman
      May 2022
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      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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      Jerking Off the Universe: (Isabelle Huppert and) Paul Verhoeven’s Elle (2016)

      Salvador Carrasco
      June 2017
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      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 Salvador Carrasco

Salvador Carrasco

Salvador Carrasco is a Mexican film director based in Santa Monica, California. He is the writer, director, and editor of the highly acclaimed and influential feature film La otra conquista (The Other Conquest, 1999) about the Spanish colonization of Mexico, which was a cultural breakthrough and the highest-grossing historical drama in Mexican cinema at the time of its release. It was selected by The Los Angeles Times and The New York Times as one of the Top Ten Films of 2000, and re-released theatrically by Alliance Atlantis in 2008, achieving a 90% score by Rotten Tomatoes’ top critics. Carrasco has won numerous film and academic awards, and is currently developing new projects through his production company, Salvastian Pictures, including film adaptations of stories by preeminent writers Juan Gabriel Vásquez and Stephen Graham Jones. Carrasco has taught directing at USC and the LA Film School, and screenwriting at Pomona College as the Moseley Fellow in Creative Writing. Carrasco is a tenured film professor at Santa Monica College, where he is founder and Head of the Film Production Program, featured in Variety magazine. Carrasco has been a guest film director at CinemadaMare in Italy, along with directors Margarethe von Trotta, Paolo Sorrentino, and Krzysztof Zanussi. His critical essays have been published by the Los Angeles Times, the Latin American Studies Association (LASA), and The Nation Books, among others.

Luis Buñuel’s El in the Face of Cultural Appropriation and the #MeToo Movement: A Filmmaker’s Reappraisal

Salvador Carrasco
May 2021
Feature Articles
To my daughter Cassandra Before the first consumer-grade videotapes came out in the mid-1970s, it stands to reason that movies were not that readily available for the general public. If you were a well-estab...

Come and See The Painted Bird: A Filmmaker’s Plea

Salvador Carrasco
October 2020
Feature Articles
Recently I saw what will most likely be my favourite film of the past year and foreseeable future, especially in light of the pandemic: The Painted Bird (Václav Marhoul, 2019), from the Czech Republic. I made a...

Being There Without Being There in the Era of COVID-19: A Filmmaker’s Perspective

Salvador Carrasco
July 2020
Feature Articles
Under the current restrictions of lockdown and quarantine, in which we are being asked not to leave our homes, “hands-on filmmaking” has become virtually impossible, at least in the sense of a group of people c...

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

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