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    • Desiring-Machines in American Cinema: What Inception tells us about our experience of reality and film

      Stephen Gaunson
      October 2010
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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
    • Values of Baz Luhrmann’s Elvis: A Carnival Ride

      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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    • Encounter at the Editing Table – The Film Archive as a Memory of One's Own Existence

      Stephen Gaunson
      July 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
    • In Search of Lost Time: An Interview with Christophe Honoré

      David A. Gerstner
      January 2023
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      Arindam Sen
      January 2023
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      Hamed Sarrafi
      January 2023
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      Stephen Gaunson
      June 2014
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      Sherry Johnson
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      Giampiero Frasca
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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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      Stephen Gaunson
      January 2022
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      Jacob Agius
      October 2022
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      Joy McEntee
      May 2022
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      Jeremy Carr
      May 2022
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      Mark Lager
      May 2022
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    • A Decade+ in Review: The 2019 Toronto International Film Festival

      Stephen Gaunson
      October 2019
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      Leonardo Goi
      January 2023
    • The Kids Aren’t Alright: The 27th Busan International Film Festival

      Marc Raymond
      January 2023
    • A Report on the Exhibition Threshold (works by Dirk de Bruyn, Guy Grabowsky & Mat Hughes)

      Glenn D'Cruz
      January 2023
    • Politics, Isolation, Pandemic: The 35th Tokyo International Film Festival

      Kohei Usuda
      January 2023
    • All the Pain and Exploitation: 66th London Film Festival

      Tara Judah
      January 2023
    • BABY, THE RAIN MUST FALL … on the Claude Sautet retrospective at the 70th San Sebastian International Film Festival

      Neil Young
      January 2023
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      “Despised and disparaged”: Reconsidering the Epic: The Epic in Film: From Myth to Blockbuster by Constantine Santas and Hollywood’s Ancient Worlds by Jeffrey Richards

      Stephen Gaunson
      April 2009
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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
  • CTEQ
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    • Film-Work

      Stephen Gaunson
      March 2011
      CTEQ Annotations on Film
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    • 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
    • Sunrise: A Song of Two Humans (F.W. Murnau, 1927)

      Jacob Agius
      October 2022
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Author Stephen Gaunson

Stephen Gaunson

Stephen Gaunson is a Senior Lecturer in the School of Media & Communication at RMIT University.

Teddys, Rock ‘n’ Roll and Anita Ekberg: La Dolce Vita

Stephen Gaunson
October 2020
Pop Music in Film
The Italian “Elvis” Adriano Celentano’s performance of the Little Richard song, “Ready Teddy” in La Dolce Vita (Federico Fellini, 1960) is raucous, unrestrained and pure rock. Moments earlier, jaded journalist ...

The Hitch-Hiker (Ida Lupino, 1953)

Stephen Gaunson
October 2018
CTEQ Annotations on Film
The production of The Hitch-Hiker (Ida Lupino, 1953) began with a story written by Robert Joseph, titled “The Persuader”, in which two ex-army buddies on a fishing road trip to Mexico pick up a shadowy male hit...
They Drive By Night

They Drive By Night (Raoul Walsh, 1940)

Stephen Gaunson
September 2017
CTEQ Annotations on Film
“Half social-realist drama about truckers, half women’s genre melodrama about a neurotic rich wife who murders her husband and makes a play for another man”, as Robert Sklar explains, even for a Raoul Walsh mov...

“What sort of spot is Port Arthur?”: For the Term of His Natural Life and the Tasmanian Gothic

Stephen Gaunson
November 2012
Tasmania and the Cinema
… Tasmanian Gothic cinema… tends to be a response to its dark and wet landscapes, which register a paradoxical sense of beauty and menace. The dramatic inclines of Tasmania’s topography, its volatile climate, t...

A Bitter Ending in Bitter Springs (Ralph Smart, 1950)

Stephen Gaunson
September 2012
Key Moments in Australian Cinema
Bitter Springs is a 1950 Ealing Studios production shot around Quorn, South Australia. Financed in part by the South Australian Government, who contributed some of the funding as investment to promote the t...

Marvellous Melbourne: Queen City of the South

Stephen Gaunson
June 2011
Melbourne on Film Dossier
In the days of early film production “scenics” or “gazettes” were seminal in establishing urban film-going as “big business”. Most popular between 1903 and 1912, they coincided with the development of city film...

Cocksucker Blues: The Rolling Stones and Some Notes on Robert Frank

Stephen Gaunson
October 2010
Feature Articles
The recent release of the Stones remastered early seventies album, Exile on Main Street, has occasioned the resurfacing of all manner of detritus from the era. Stephen Gaunson sifts through the intersecting careers of the band and fabled photographer/filmmaker Robert Frank.

The Story of the Kelly Gang (Charles Tait, 1906)

Stephen Gaunson
July 2010
Key Moments in Australian Cinema
From its original duration of 70 minutes, sadly, only 18 minutes of The Story of the Kelly Gang remains. Thankfully though, the final spectacular scene of bushranger Ned Kelly’s capture still exists, albeit in ...

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