• Features
  • Festival Reports
  • Book Reviews
  • CTEQ
  • Great Directors
  • Special Dossiers
  • Past Issues
  • Podcast
  • Support us on Patreon
Search
Senses of Cinema logo
  • Dossiers
  • Features
    Random
    • article placeholder

      The Edges of Film

      Stuart Richards
      May 2002
      Feature Articles
    Recent
    • 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
  • Interviews
    Random
    • article placeholder

      Nature of Keeping Awake: Hanif Kureishi and Collaborative Film-Making

      Stuart Richards
      November 2000
      Interviews
    Recent
    • Human is only human when vulnerable: An Interview With Michel Franco

      Savina Petkova
      May 2022
    • ‘I Was Taunting the Western’: An Interview with Alejandra Márquez Abella

      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
    • Interview with Albert Birney & Kentucker Audley

      Nolan Kelly
      May 2022
    • The Creative Leap to Fluid Consciousness: An Encounter with Ashley McKenzie

      Brigitta Wagner
      May 2022
  • Great Directors
    Random
    • Clarke, Alan

      Stuart Richards
      October 2005
      Great Directors
    Recent
    • Smith, Jack: Travails of an Underground Artist

      Sanya Osha
      May 2022
    • Desai, Manmohan

      Darragh O’Donoghue
      May 2022
    • Curtiz, Michael

      Jeremy Carr
      January 2022
    • Lau, Kar-leung

      Tom Cunliffe
      January 2022
    • Tahimik, Kidlat 

      Charles Fairbanks
      January 2022
    • Lucas, George

      Dan Golding
      July 2021
  • Great Actors
    Random
    • Cage, Nicolas

      Stuart Richards
      January 2022
      Great Actors
    Recent
    • Lansbury, Angela

      Joy McEntee
      May 2022
    • Caine, Michael

      Wheeler Winston Dixon
      May 2022
    • Garbo, Greta

      Jeremy Carr
      May 2022
    • Magee, Patrick

      Mark Lager
      May 2022
  • Festival Reports
    Random
    • Queer and Australian Features at the 2020 Adelaide Film Festival

      Stuart Richards
      January 2021
      Festival Reports
    Recent
    • Day by Day: IFFR 2022

      Madeleine Collier
      May 2022
    • Absence and Presence at Internationale Kurzfilmtage Oberhausen. 68.

      Tara Judah
      May 2022
    • Stuck in traffic: IFFR 2022

      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
    • Play-Doc 2022: António Campos, a secret filmmaker

      Ricardo Vieira Lisboa
      May 2022
  • Book Reviews
    Random
    • The Shadowcatchers: A History of Cinematography in Australia by Martha Ansara

      Stuart Richards
      September 2012
      Book Reviews
    Recent
    • How to Do Things with Camera Movement: The Lure of the Image: Epistemic Fantasies of the Moving Camera, by Daniel Morgan

      Kyle Barrowman
      May 2022
    • The Depths of Empiricism: Werner Herzog: Ecstatic Truth and Other Useless Conquests, by Kristoffer Hegnsvad

      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
  • CTEQ
    Random
    • Regeneration

      Regeneration (1915): Raoul Walsh Begins

      Stuart Richards
      September 2017
      CTEQ Annotations on Film
    Recent
    • Shockproof (Douglas Sirk, 1949): The Insanity of Romantic Desire

      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
  • Support Senses
  • About Senses of Cinema
    • Contact Us
    • Staff
    • Thank you to our Patrons
    • Style Guide
  • Latest
  • Past Issues
  • World Poll
  • Podcast
  • Advertisers
  • Proposals
  • Call for Submissions
  • Shop
  • Subscribe
more articles... more articles... more articles... more articles... more articles...

Author Stuart Richards

Stuart Richards

Stuart Richards lectures in Screen Studies in the School of Creative Industries at the University of South Australia. His first monograph The Queer Film Festival: Politics and Popcorn is published as part of Palgrave Macmillan’s ‘Framing Film Festivals’ series. He has previously worked with both the Melbourne Queer Film Festival and The San Francisco Frameline International LGBTQ Film Festival. He is a member of the Australian Film Critics Association.

Leaning into the Challenge: Interview with Scattered co-creators Logan Mucha and Kate Darrigan

Stuart Richards
January 2022
Interviews
Social media platforms have long been avenues for filmmakers to experiment with form and story. YouTube, Vimeo and Snapchat have had varying amounts of original content from filmmakers. For many, TikTok is a ne...

Queer and Australian Features at the 2020 Adelaide Film Festival

Stuart Richards
January 2021
Festival Reports
Held primarily at Palace Nova in the CBD’s Eastend, the Adelaide Film Festival was one of only a few festivals in Australia that were able to hold in-cinema events in 2020. The festival took extra precautions t...

And Then We Danced: Queer sounds and movement

Stuart Richards
April 2020
Feature Articles
And Then We Danced had its premiere in Georgia on 8th December 2019. I got to first experience this tender film at the Melbourne International Film Festival earlier in August. Due to the queer themes explored, ...
John Waters

Divine Dog Shit: John Waters and Disruptive Queer Humour in Film (Issue 80, September 2016)

Stuart Richards
October 2019
Highlights from 20 years of Senses of Cinema
Originally published in Senses of Cinema issue 80, September 2016. John Waters is an icon of queer cinema, known for his use of grossness and bad taste. However, it is not grotesqueness alone that makes quee...

The 2018 Mezipatra Queer Film Festival: An Adventure Beyond Reality into a Queer Liminal Space

Stuart Richards
March 2019
Festival Reports
Themes of liminality run through the Mezipatra Queer Film Festival in Prague. The event is held in November each year, as Europe slowly turns to the coldness of winter. Once, when I stated that Prague was in Ea...
John Waters

Divine Dog Shit: John Waters and Disruptive Queer Humour in Film

Stuart Richards
September 2016
American Extreme
John Waters is an icon of queer cinema, known for his use of grossness and bad taste. However, it is not grotesqueness alone that makes queer film akin to Waters’ work; his humour is distinctly politically di...

The Festival Where First Feature Directors Reigned: the 38th Frameline San Francisco International LGBT Film Festival

Stuart Richards
October 2014
Festival Reports
Audiences attending the Frameline San Francisco International LGBT Film Festival earlier this year for San Francisco Pride month were, as always, vocal in their love of queer cinema. The quality of LGBT films c...

A Soul Nourishing Pilgrimage: The 35th Frameline San Francisco International LGBT Film Festival

Stuart Richards
October 2011
Festival Reports
Frameline is a film festival that is flourishing alongside the dramatic changes in queer and LGBT identity politics. The larger, more prominent screenings occur in the Castro neighbourhood, which is famed for b...

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

Staff Members

Editors:

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

Contributing Partner

Donate to Senses

 

Click here to make a donation. If you are an Australian resident, any donations over $2 are tax deductible.

 

Search

  • About Senses of Cinema
  • Contact Us
  • Privacy
  • Proposals
  • Advertisers
  • Staff