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  • Features
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    • The Art of Murder: What We Have to Learn from The House That Jack Built

      Shari Kizirian
      March 2019
      Feature Articles
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    • Criminals Against Decoration: Modernism as a Heist

      Andy Reischling
      October 2020
    • The New-Ark: trying to disavow anti-blackness

      Andrew Brooks
      October 2020
    • Claustrophobia and Intimacy in Alex Ross Perry’s Queen of Earth and Her Smell

      Zoë Almeida Goodall
      October 2020
    • Wanda (Barbara Loden,1971)

      What’s in a Cone? Barbara Loden’s Wanda Between Weakness and Resilience

      Luise Moerke
      October 2020
    • Come and See The Painted Bird: A Filmmaker’s Plea

      Salvador Carrasco
      October 2020
    • Thresholds of Work and Non-Work in Tulapop Saenjaroen’s People on Sunday

      Steffanie Ling
      October 2020
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    • The Last Time I Saw Lisbon & Estoril: The 6th Lisbon & Estoril Film Festival

      Shari Kizirian
      November 2012
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      Sucheta Chakraborty
      January 2021
    • Ghost Cities: The 58th Viennale

      Leonardo Goi
      January 2021
    • Queer and Australian Features at the 2020 Adelaide Film Festival

      Stuart Richards
      January 2021
    • Korean Cinema’s Self-Portrait: The 25th Busan International Film Festival

      Marc Raymond
      January 2021
    • Live Through This: The 2020 Adelaide Film Festival

      Saige Walton
      January 2021
    • “Sense of Place”: The 33rd Tokyo International Film Festival

      Kohei Usuda
      January 2021
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    • Almodrama and the Aesthetics of Excess: Latin American Melodrama: Passion, Pathos and Entertainment edited by Darlene J. Sadlier All About Almodóvar: A Passion for Cinema edited by Brad Epps and Despina Kakoudaki

      Shari Kizirian
      October 2010
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    • Revising a Concept: Cinema Expanded: Avant-Garde Film in the Age of Intermedia, by Jonathan Walley

      Holly Willis
      January 2021
    • When Everything Seemed Possible: London’s Arts Labs and the 60s Avant-Garde by David Curtis

      Wheeler Winston Dixon
      January 2021
    • “Memories Are Made of This”: Juliane Lorenz and Lothar Schirmer’s R.W. Fassbinder: Film Stills, 1966-1982

      Eric Gudas
      January 2021
    • Beneath the Tuxedo Elegance: Cary Grant: The Making of a Hollywood Legend, by Mark Glancy

      Tom Ryan
      January 2021
    • Anarchist Cinema: A Dream of Resistance: The Cinema of Kobayashi Masaki by Stephen Prince

      Karthick Ram Manoharan
      January 2021
    • Trade Follows the Film: Cinema and the Wealth of Nations: Media, Capital, and the Liberal World System by Lee Grieveson

      Daniel Fairfax
      October 2020
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      Don’t Look Back: Come and See

      Shari Kizirian
      August 2007
      CTEQ Annotations on Film
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    • Stairways to Paradise: Youssef Chahine and Alexandria…Why?

      David Melville
      October 2020
    • At Home Among Strangers (Свой среди чужих, чужой среди своих, Nikita Mikhalkov, 1974)

      Darragh O’Donoghue
      October 2020
    • German Yearnings, East and West: The Sons of Great Bear (Josef Mach, 1966)

      Donovan Renn
      October 2020
    • Waiting for Rain: Oppression and Resistance in Youssef Chahine’s The Land (1970)

      David Heslin
      October 2020
    • Of East and West and High and Low: Lemonade Joe (1964)

      Cerise Howard
      October 2020
    • A Man from the Boulevard des Capucines (Chelovek s bulvara Kaputsinov, Alla Surikova, 1987)

      Martyn Bamber
      October 2020
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    • Romero, George A.

      Shari Kizirian
      February 2007
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      Jeremy Carr
      October 2020
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      Brendan Black
      October 2020
    • Wise, Robert

      Adrian Schober
      April 2020
    • Fernández, Emilio “Indio”

      Abel Muñoz Hénonin
      April 2020
    • Fei Mu

      Jasper Mäkinen
      October 2019
    • Huston, John

      Bruce Jackson
      July 2019
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Author Shari Kizirian

Shari Kizirian

Shari Kizirian is a freelance editor and writer based in Rio de Janeiro. She co-edits the program book for the San Francisco Silent Film Festival.

The Trouble with Sound: Prix de beauté (Augusto Genina, 1930)

Shari Kizirian
October 2019
CTEQ Annotations on Film
Variety’s correspondent in Berlin describes the unfortunate fate of Prix de beauté (Augusto Genina, 1930), a film about a beauty queen saddled with a jealous boyfriend, released during the mad rush to sound: “O...

Rosita (Ernst Lubitsch, 1923)

Shari Kizirian
July 2019
CTEQ Annotations on Film
A 1923 American release about a scrappy street singer who catches the eye of a lascivious king in a fictional Old Seville, Rosita was a turning point in the careers of two of silent-era cinema’s most consequent...

The Ascent (1977): Larisa Shepitko’s Final Word

Shari Kizirian
March 2019
CTEQ Annotations on Film
The breathless immediacy of Voskhozhdeniye (The Ascent, Larisa Shepitko, 1977), adapted from a novella by Vasily Bykov about two Belarusian partisans during World War II, combines with a profound understanding ...
Asphalt

Asphalt (Joe May, 1929)

Shari Kizirian
June 2018
CTEQ Annotations on Film
Light on plot and heavy in atmosphere, Asphalt (Joe May, 1929) was one of the last silent films to come out of Ufa, and the German mega-studio seems to have spared no expense in its making. The story of a young...
The Girl With the Hat Box

1927: The Girl with the Hatbox (Boris Barnet)

Shari Kizirian
December 2017
100 Years of Soviet Cinema
The first solo effort by Boris Barnet, Devushka s korobkoy (The Girl with the Hatbox) opened during a pinnacle year for silent cinema. Called “annus mirabilis” by Kevin Brownlow (1), 1927 saw the premieres of M...

1927: October (Sergei Eisenstein)

Shari Kizirian
December 2017
100 Years of Soviet Cinema
In 1926, the October Revolution Jubilee Committee pulled Sergei Eisenstein, Grigorii Aleksandrov, and cameraman Eduard Tisse away from Generalnaia Liniia (The General Line, eventually completed in 1929) to begi...
Man With a Movie Camera

1929: Man With a Movie Camera (Dziga Vertov)

Shari Kizirian
December 2017
100 Years of Soviet Cinema
From Failed Propaganda to Timeless Masterpiece: Man with a Movie Camera (Dziga Vertov, 1929) In 1927 while Soviet cinema was celebrating the tenth anniversary of the Bolshevik Revolution, one of its most ferve...
Regeneration

Regeneration (1915): Raoul Walsh Begins

Shari Kizirian
September 2017
CTEQ Annotations on Film
Made the year exhibitor William Fox established himself as a moviemaker, Regeneration (Raoul Walsh, 1915) was released as part of the company’s ambitious plan for filling its 125-movie-theater chain with its ow...
L’Argent film review

Money Makes the Movies Go Round: Marcel L’Herbier’s L’Argent

Shari Kizirian
September 2015
CTEQ Annotations on Film
Motion pictures get made in a tensile tradeoff between art and commerce, expression and resources, creator and investor, and most elementally both on-set and behind-the-scenes, between director and producer. So...
Intermezzo film review

An Interlude in Swedish Cinema: Gustaf Molander’s Intermezzo

Shari Kizirian
June 2015
CTEQ Annotations on Film
When Hollywood came calling to sign both Ingrid Bergman and Gustaf Molander for a remake of Intermezzo (1936), the actress and the director’s reluctance was probably no surprise, considering MGM’s famous diffic...
The Patsy

The Mistress and the Actress: Marion Davies in The Patsy

Shari Kizirian
August 2013
CTEQ Annotations on Film
A black sheep with blonde hair, Patsy Harrington has a crush. The younger sister of the social-climbing Grace who, abetted by a single-minded mother and a weak-willed father, always gets her way, Patsy is the f...

The Girl with the Hatbox

Shari Kizirian
August 2012
CTEQ Annotations on Film
The first solo effort by Boris Barnet, Devushka s korobkoy (The Girl with the Hatbox) opened during a pinnacle year for silent cinema. Called “annus mirabilis” by Kevin Brownlow (1), 1927 saw the premieres of M...

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© Senses of Cinema 2019

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Michelle Carey • Daniel Fairfax • Fiona Villella • César Albarrán-Torres

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