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      "Shall We Jazz?" - Modernism in Australian Films of the '20s

      Simon Weaving
      September 2000
      Feature Articles
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    • Horse-People and White Voices: Neoliberalism and Race in Sorry to Bother You

      Thomas Austin
      May 2023
    • The Exorcism of Sinister Ghosts: Saralisa Volm’s The Silent Forest

      Peter Verstraten
      May 2023
    • Spectatorial Labour: The Political Vision of Sergei Loznitsa’s Documentaries

      Santasil Mallik
      May 2023
    • 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
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    • Love Dog: Conversation with Bianca Lucas

      Simon Weaving
      October 2022
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    • Here: An Interview with Bas Devos

      Maria Giovanna Vagenas
      May 2023
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      Brigitta Wagner
      May 2023
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      Maja Korbecka
      May 2023
    • Biting comedy: An Interview with Japanese director Hyûga Fumiari

      Purple Romero
      May 2023
    • When in Love, Make a Film: Interview with Alexandre O. Philippe

      Hamed Sarrafi
      May 2023
    • Korean Chinese, Borderland, and Transborder Encounters: A Conversation with Zhang Lu

      Yanjie Wang
      May 2023
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    • Fassbinder, Rainer Werner

      Simon Weaving
      May 2002
      Great Directors
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      Jeremy Carr
      May 2023
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      Benjamin Kooyman
      May 2023
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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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      Simon Weaving
      May 2022
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      Wheeler Winston Dixon
      May 2023
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      Jacob Agius
      October 2022
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      Joy McEntee
      May 2022
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      Wheeler Winston Dixon
      May 2022
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      Mark Lager
      May 2022
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      Jessica Balanzategui
      January 2022
  • Festival Reports
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      Image, Unleashed (Or, Air-Conditioning in the Bamboo Forest): A Dispatch from the 51st San Francisco International Film Festival

      Simon Weaving
      February 2009
      Festival Reports
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    • Generational Feminisms: the 45th Festival International de Films de Femmes

      Sian Mitchell
      May 2023
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      Carmen Gray
      May 2023
    • CPH:DOX 2023: At World’s End

      Will DiGravio
      May 2023
    • Punto de Vista 2023: Dust No Longer Clouds Our Eyes

      Jay Kuehner
      May 2023
    • All the world’s a stage IFFR Critics’ Choice 9: PLAY

      Tara Judah
      May 2023
    • Sweet Madness: the 2023 Berlinale

      Daniel Fairfax
      May 2023
  • Book Reviews
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      European Cinema: Face to Face with Hollywood by Thomas Elsaesser

      Simon Weaving
      July 2006
      Book Reviews
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    • Bloody, Raging Females: Five Books Examine Contemporary Feminist Horror Films

      Holly Willis
      May 2023
    • Cinematic Bottom-Feeding: Why It’s OK to Love Bad Movies, by Matthew Strohl

      Sam Woolfe
      May 2023
    • 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
  • CTEQ
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    • bay of angels

      La Baie des Anges

      Simon Weaving
      March 2018
      CTEQ Annotations on Film
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    • Days (Tsai Ming-liang, 2020)

      Jacob Agius
      May 2023
    • Afflictions of Pain and Desire: The River (Tsai Ming-liang, 1997)

      Alex Williams
      May 2023
    • The Wayward Cloud (Tsai Ming-liang, 2005)

      Amelia Leonard
      May 2023
    • Goodbye, Dragon Inn (Tsai Ming-liang, 2003)

      Andrew Le
      May 2023
    • The Skywalk is Gone (Tsai Ming-liang, 2002)

      Digby Houghton
      May 2023
    • What Time is it There? (Tsai Ming-liang, 2001)

      Jessica Balanzategui
      May 2023
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Author Simon Weaving

Simon Weaving

Simon Weaving is a lecturer in media production and the creative industries at the University of Newcastle, and Co-founder and Director of Stronger Than Fiction Documentary Film Festival. Simon completed his PhD in screenwriting and genre theory and currently curates the Winter Film Series at the National Gallery of Australia.

Blow Up

Blow-Up (Michael Antonioni, 1966)

Simon Weaving
March 2017
Love Letters: 1967
Fifty years ago, on 12 May 1967, the Jury of the Cannes Film Festival awarded its top prize to Blow-Up, Michael Antonioni’s first English language film. Shot in London in late summer the previous year, it has i...
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Scenes from a Revolution: The Birth of the New Hollywood by Mark Harris

Simon Weaving
August 2008
Book Reviews
It is one of the most iconic film posters of the last 50 years. A shapely female leg splits the image horizontally, stocking halfway off, or halfway on – it doesn’t really matter, you get the picture. Beyond 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.

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.

 

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

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