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      More than Meets the Eye: The Mediation of Affects in Jane Campion's Sweetie

      Stayci Taylor
      December 1999
      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
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      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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    • “Godless Mysticism”: An Interview with Amiel Courtin-Wilson

      Stayci Taylor
      March 2019
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      Tara Judah
      January 2023
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      Maria Giovanna Vagenas
      January 2023
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      Toby Wu
      January 2023
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      Arindam Sen
      January 2023
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      Hamed Sarrafi
      January 2023
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      David A. Gerstner
      January 2023
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      Stayci Taylor
      October 2003
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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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      Stayci Taylor
      May 2022
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      Jacob Agius
      October 2022
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      Wheeler Winston Dixon
      May 2022
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      Jeremy Carr
      May 2022
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      Mark Lager
      May 2022
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      Jessica Balanzategui
      January 2022
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    • AFI/AFM 2010 – Places to Fly Away From

      Stayci Taylor
      April 2020
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      Leonardo Goi
      January 2023
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      Glenn D'Cruz
      January 2023
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      Kohei Usuda
      January 2023
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      Marc Raymond
      January 2023
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      Saige Walton
      January 2023
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      Tara Judah
      January 2023
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      I Like Your Early, Scary Films: Consumed: A Novel, by David Cronenberg

      Stayci Taylor
      December 2015
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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
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    • Nosferatu: A Symphony of Horror (Nosferatu Eine Symphonie des Grauens)

      Stayci Taylor
      July 2000
      CTEQ Annotations on Film
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    • 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
    • Nosferatu: Eine Symphonie des Grauens (Nosferatu: A Symphony of Horror, F.W. Murnau, 1922)

      Martyn Bamber
      November 2022
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Author Stayci Taylor

Stayci Taylor

Dr Stayci Taylor is an Industry Fellow with the Media program in RMIT University’s School of Media and Communication. She is co-editor of the Journal of Screenwriting’s special issue on Script Development, and is further published in such journals as Celebrity Studies, New Writing and TEXT. Stayci teaches screenwriting at RMIT and continues to work as a screenwriter and script consultant in film and television.

Screenwriting Melbourne/s: The Challenges of Re-presenting and Re-creating Melbourne Within a Screenplay’s Flipped-Reality Narrative

Stayci Taylor
November 2017
Screening Melbourne
This article argues that establishing the screen city begins with the script, and the author makes a case study of her own screenplay, set in an alternative Melbourne where gender hierarchies are reversed. Draw...
Female perspectives comedy

In Her Shoes: Flipped-realities and Female Perspectives in Comedy Screenwriting

Stayci Taylor
September 2016
New Directions in Screen Studies
This article examines flipped-reality screenwriting, particularly in comedy form, and its ability to destabilise the ‘norms’ and ‘universals’ of mainstream film. Flipped-reality is one particular type of fict...

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:

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

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