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      Fracturing the Marble Façade: Visceral Excavation in Andrzej Wajda’s Man of Marble

      Sue Gillett
      May 2007
      Feature Articles
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      Tara Lomax
      October 2022
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      Mark Freeman & Eloise Ross
      October 2022
    • Unrealisable woman: Tania in Stanley Kubrick’s Aryan Papers

      Joy McEntee
      October 2022
    • Anatomy of a Breakup or Her Life to Fix: The Worst Person in the World

      Salvador Carrasco
      October 2022
    • Respecting the Lives of Others: Bergman Island, Hommage and Anaïs in Love

      Anthony McKibbin
      August 2022
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      Selen Ozturk
      July 2022
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      Sue Gillett
      July 2021
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      October 2022
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      Maria Giovanna Vagenas
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      Maja Korbecka
      July 2022
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      Maria Giovanna Vagenas
      July 2022
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      Savina Petkova
      May 2022
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      Silvia Spitta & Gerd Gemünden
      May 2022
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      Sue Gillett
      October 2005
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      Jeremy Carr
      October 2022
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      Sara Delshad
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      Hal Young
      October 2022
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      Sanya Osha
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      Darragh O’Donoghue
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      Jeremy Carr
      January 2022
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      Sue Gillett
      January 2022
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      Sue Gillett
      October 2018
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      Levan Tskhovrebadze
      October 2022
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      Nolan Kelly
      October 2022
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      Andrew Northrop
      October 2022
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      Susana Bessa
      October 2022
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      Jaimey Fisher
      October 2022
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      Jake Pitre
      October 2022
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      Reinventing European Cinema Studies? The New European Cinema: Redrawing the Map by Rosalind Galt and Crossing New Europe: Postmodern Travel and the European Road Movie by Ewa Mazierska and Laura Rascaroli

      Sue Gillett
      May 2007
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      Tom Boniface-Webb
      October 2022
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      Corey P. Cribb
      October 2022
    • Trafic at 30, End of a Film Journal

      Emmanuel Bonin
      July 2022
    • 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
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      The Magnificent Ambersons

      Sue Gillett
      February 2006
      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 Sue Gillett

Sue Gillett

Sue Gillett is the author of Views from Beyond the Mirror: The Films of Jane Campion (ATOM, 2004). She lectures in film, literature and women's studies at La Trobe University Bendigo.

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Engaging Medusa: Competing Myths and Fairytales in In the Cut

Sue Gillett
April 2004
Feature Articles
In this imaginative analysis of Jane Campion's latest film, the desires and trajectories of contemporary characters are revealed to be not all that far removed from those of ancient mythology.
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Just Women: Marlene Gorris’ Antonia’s Line

Sue Gillett
November 2001
CTEQ Annotations on Film
Antonia's Line (1995 Netherlands/Belgium/UK 102mins) Source: NLA/CAC Prod Co: Antonia's Line International, Antonia's Line, A Bergen, Prime Time, Bard Entertainments, NPS Televisie Prod: Hans de Weers, G...
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Angel from the Mirror City: Jane Campion’s Janet Frame

Sue Gillett
November 2000
Novel and Film
Seeing and believing: Gillett examines female desire and spectatorship in the Frame-Campion textual relationship.
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Never a Native: Deconstructing Home and Heart in Holy Smoke

Sue Gillett
April 2000
Australian Cinema
A sensitive discussion of the heroine's complex journey in Jane Campion's latest film.
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More than Meets the Eye: The Mediation of Affects in Jane Campion’s Sweetie

Sue Gillett
December 1999
Feature Articles
An intriguing and sensitive discussion of Jane Campion's Sweetie (1989) that blends a personal, affective reading (specified as gender-based) with critical analysis in order to arrive at an understanding of the very complex way in which Campion's films address the viewer as female.

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.

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