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- The Object(s) of Interpretation: Guillermo Del Toro’s El Espinazo Del Diablo (The Devil’s Backbone)
  Julian Savage
  
  July 2002
  
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  Zoë Almeida Goodall
  
  October 2020
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  Luise Moerke
  
  October 2020
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  Salvador Carrasco
  
  October 2020
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  Steffanie Ling
  
  October 2020
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  Stuart Richards
  
  January 2021
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  Marc Raymond
  
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  Saige Walton
  
  January 2021
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  Kohei Usuda
  
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Founded 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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Michelle Carey • Daniel Fairfax • Fiona Villella • César Albarrán-Torres

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The Object(s) of Interpretation: Guillermo Del Toro’s El Espinazo Del Diablo (The Devil’s Backbone)

Criminals Against Decoration: Modernism as a Heist

The New-Ark: trying to disavow anti-blackness

Claustrophobia and Intimacy in Alex Ross Perry’s Queen of Earth and Her Smell

What’s in a Cone? Barbara Loden’s Wanda Between Weakness and Resilience

Come and See The Painted Bird: A Filmmaker’s Plea

Thresholds of Work and Non-Work in Tulapop Saenjaroen’s People on Sunday

St. Kilda Film Festival and Short Filmmaking in Australia... the Director's Point of View: Interviewed - Peter Kaufmann

Dreaming of the Mountains: The 9th Dharamshala International Film Festival

Ghost Cities: The 58th Viennale

Queer and Australian Features at the 2020 Adelaide Film Festival

Korean Cinema’s Self-Portrait: The 25th Busan International Film Festival

Live Through This: The 2020 Adelaide Film Festival

“Sense of Place”: The 33rd Tokyo International Film Festival

Postcolonial Cinema Studies, edited by Sandra Ponzanesi and Marguerite Waller

Revising a Concept: Cinema Expanded: Avant-Garde Film in the Age of Intermedia, by Jonathan Walley

When Everything Seemed Possible: London’s Arts Labs and the 60s Avant-Garde by David Curtis

“Memories Are Made of This”: Juliane Lorenz and Lothar Schirmer’s R.W. Fassbinder: Film Stills, 1966-1982

Beneath the Tuxedo Elegance: Cary Grant: The Making of a Hollywood Legend, by Mark Glancy

Anarchist Cinema: A Dream of Resistance: The Cinema of Kobayashi Masaki by Stephen Prince

Trade Follows the Film: Cinema and the Wealth of Nations: Media, Capital, and the Liberal World System by Lee Grieveson

The Illustrated Auschwitz

“She smelled of Tokyo”: Sensory connections in The Masseurs and a Woman (1938)

Shimizu Redivivus: A Woman Crying in Spring (Nakinureta haru no onna yo, Hiroshi Shimizu, 1933)

A Hero of Tokyo (Tôkyô no eiyû, Hiroshi Shimizu, 1935)

I Kiss Your Hand, Madame (Robert Land, 1929)

The Major and The Minor (Billy Wilder, 1942)

Unfolding Florence – The Many Lives of Florence Broadhurst (Gillian Armstrong, 2006)

Aldrich, Robert

Scott, Tony

Menzel, Jiří

Wise, Robert

Fernández, Emilio “Indio”

Fei Mu

Huston, John