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      Cinephilia and/or Cinematic Specificity

      Stuart Richards
      June 2000
      Feature Articles
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    • A Face in the Crowd: Ritual, Mythological and Political contexts in Stranger and the Fog

      Amir Hossein Siadat
      November 2023
    • Consensus Empire: Empowering the Spectator through Letterboxd Reviews

      Tyler Thier
      November 2023
    • We Can’t Save The Victims: Hauntology in Tony Scott’s Déjà Vu

      Aryan Tauqeer Khawaja
      November 2023
    • Situating Lucile Hadžihalilović’s Good Boys Use Condoms

      Oliver Kenny
      November 2023
    • Songs of Joy and Melancholy: On My Darling in Stirling

      Frankie Kanatas
      November 2023
    • Film Criticism and the Grotesque: A Very American Tár & an Oz Elvis

      Laleen Jayamanne
      August 2023
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      Nature of Keeping Awake: Hanif Kureishi and Collaborative Film-Making

      Stuart Richards
      November 2000
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      Gary M. Kramer
      November 2023
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      Mike Hoolboom
      November 2023
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      Amanda Barbour
      November 2023
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      Amanda Barbour
      November 2023
    • Our Body is a Battleground: An Interview with Claire Simon

      Öykü Sofuoğlu
      November 2023
    • “Irritation Is the Most Important Tool Any Artist Has”: An Interview with Jessica Hausner

      Jaimey Fisher & Gerd Gemünden
      November 2023
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      Stuart Richards
      April 2004
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      Deborah Allison
      November 2023
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      Jeremy Carr
      November 2023
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      Jeremy Carr
      May 2023
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      Benjamin Kooyman
      May 2023
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      Giampiero Frasca
      January 2023
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      Sherry Johnson
      January 2023
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      Stuart Richards
      May 2023
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      Gabrielle Stecher
      November 2023
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      Eloise Ross
      August 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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      Jeremy Carr
      May 2022
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      Consistent Pickings But Few Difficult Pleasures: The 55th Sydney Film Festival

      Stuart Richards
      August 2008
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      Xiang Fan
      November 2023
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      Roger Macy
      November 2023
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      Jonathan Mackris
      November 2023
    • Magnetizing and still Putting on Weight – the 37th Il Cinema Ritrovato

      Roger Macy
      November 2023
    • Dealing with the past, and present, at the 29th Sarajevo Film Festival

      Randy Malamud
      November 2023
    • 76th Locarno Film Festival: Culture on the Edge, Tumbling Into Futures Unknown

      Jaimey Fisher
      November 2023
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      Close-Up #1 edited by John Gibbs and Douglas Pye

      Stuart Richards
      July 2006
      Book Reviews
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    • Facing the Other: Keyvan Manafi’s The Eye of the Cinematograph: Levinas and Realisms of the Body

      M. Sellers Johnson
      November 2023
    • A Man of Genius Has Been Seldom Ruined But By Himself: Ethan Warren’s The Cinema of Paul Thomas Anderson

      Hannah Bonner
      November 2023
    • The Rebellious and the Rigorous: The Red Years of Cahiers du cinéma (1968-1973), by Daniel Fairfax

      Tony McKibbin
      August 2023
    • A Journey through Serge Daney’s Cinema House

      Emmanuel Bonin
      August 2023
    • 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
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      Dead Heart

      Stuart Richards
      November 2007
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      Grace Boschetti
      November 2023
    • The Golden Cage: Ayten Kuyululu and Australian Cinema

      Adrian Danks
      November 2023
    • Twice a Man

      Darragh O’Donoghue
      November 2023
    • A Rainha Diaba

      Mateus Nagime
      November 2023
    • No longer lost, now remembered: A conversation with Rafael de Luna Freire about Antes, o Verão

      Eloise Ross
      November 2023
    • The Red Light Bandit

      Guilherme Carréra
      November 2023
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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.

 

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César Albarrán-Torres • Tara Judah • Abel Muñoz-Hénonin • Fiona Villella • Nace Zavrl

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