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editorial
welcome to Issue 15 of our journal!
Is it Christmas in July or is this the Film Festivals issue? Either way you look at it, festival fever is about to hit the cities of Melbourne and Brisbane. A month prior, Sydney recently closed its major film festival for 2001 and in this issue Needeya Islam provides an interesting report on a festival heading down a certain direction. Besides the majors, smaller, more specifically audience-targeted festivals have just ended or are about to begin: these include the 2nd Sydney Asia Pacific Film Festival and the 2nd Melbourne Underground Film Festival, both of which sprung from a genuine need to provide particular films for a particular audience whose tastes and interests were not being met.
The coming weeks are really important opportunities for those living on the East Coast of Australia to see on the big screen the latest in world cinema, documentaries, short filmmaking, animation, and retrospectives. Not only Christmas, it's also a time for birthdays. The Brisbane International Film Festival has grown over the last ten years to become one of Australian film culture's most innovative and exciting events, with its retrospectives and long-time dedication to Asian film something to be proud of. Meanwhile the Melbourne International Film Festival turns 50, and with a solid history behind it, continues to be as strong as ever with extensive Australian film and world cinema sections, a world first full Ishii Sogo retrospective and various other sidebar and spotlight programs.
Sadly, among all the festival activity that is happening in Australia, none of it includes a screening of a Philippe Garrel film, whose 1982 film L'Enfant Secret is paid tribute in this issue by Adrian Martin who regards it as one of the "monumental" films of cinema history. Martin recently saw this film at a Garrel conference, which is reported on in this issue in addition to the recent Godard conference, held in London.
I am also proud to present both the English and German versions of Alexander Horwath's excellent essay on Godard's Histoire(s). This is the first, important step for Senses of Cinema in becoming an international film journal.
A big thankyou goes to all the writers for making the issue what it is. I'd also like to thank Anne Démy-Geroe and Michael Ward from BIFF and Adrian Martin for his editorial assistance.
But really, let's now turn to the films .
Fiona A. Villella
go to Contents, Issue 15
our mission
Senses of Cinema is
an online film journal devoted to the serious and eclectic discussion
of cinema. It has been set up to address a lack of cinephilic writing
in local discourse, that is, writing sprung from the desire to think and
write seriously, knowledgeably and passionately about film.
Senses of Cinema is unique in its eclecticism: it encourages articles of all styles
(casual, personal, academic, critical, impressionistic and poetic - or a
combination of these), analytical approaches (thematic, psychoanalytic,
etc) and subject matter. The only criteria that we prescribe are that all
articles are demonstrably passionate, serious, intelligent and insightful
reflections and/or analyses on the topic of cinema.
Senses of Cinema promotes various divergent "voices" that speak to a wide and
diverse audience. It aims to bring together a mix of writers: established
and emerging, theorists and un-published cinephiles, filmmakers and
film programmers, and local and international writers.
We are particularly
committed to discussing art, independent, experimental and third world cinemas
(everything from Renoir to Antonioni to Solàs to Oshima to Morrissey
to Jost to Friedrich to Snow, feature films as well as short films) , theorising
new encounters with digital technologies, and promoting writing that increases
one's understanding and appreciation of cinema.
We recognise that an object as ephemeral and ethereal as cinema continues to fascinate,
to provoke, to inspire, to turn on, to evolve. And it is in relation to
this object that we seek to facilitate and encourage expression and appreciation.
Want to contribute to this journal?
Click on the words above to read our guidelines for writers.
about us
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Editor / Managing Director
- Fiona A. Villella, 27,
studied film at Melbourne University and has since gone on to write
for many publications, including Metro, Real Time, IF
and C'TEQ annotations. She is also an independent filmmaker,
has worked around the film scene, and lived and worked in NYC for
6 months. She is also co-curator of the Melbourne Filmoteca
and a board member of the Melbourne Cinémathèque.
Her favourite directors are Martin Scorsese, Robert Bresson, Eric
Rohmer, Jean-Luc Godard, Federico Fellini, Spike Lee, Claire Denis
and Julie Dash.
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You can email Fiona.
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Webmaster
- Chris Howard,
29, studied film at La Trobe University and is again this year involved with the Melbourne Underground Film Festival, for which he is hellbent on having ready in time a video clip for his band ilk, who can regularly be found playing and staging unlikely events around Melbourne. Favourite directors include Dario Argento, Luis Buñuel, Shinya Tsukamoto, Buster Keaton, Peter Jackson, Sam Raimi, Jan Svankmajer, Akira Kurosawa, Roman Polanski and Andrei Tarkovsky. And Kubrick, Bergman, Hitchcock, Scorsese, Gilliam, Bava, Almodóvar etc.
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You can email Chris.
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Co-editor / Editorial Godfather
- Adrian Martin, 41, is one of Australia's foremost film critics. He is the the
author of the books Phantasms (McPhee Gribble, 1994) and
Once Upon a Time in America (BFI, 1998). His reviews of new
releases can be read in The Age (Melbourne). He is currently
working on books on Terrence Malick, Brian De Palma and the Mad
Max series.
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Founding Editor / Top Tens compiler
- Bill Mousoulis,
38, is an independent filmmaker with over 60 films to his name,
including four low-budget features. He was involved with the
formation of the Melbourne Super 8 Film Group in 1985, and was its
administrator for six years. He founded Senses of Cinema in late 1999 and was its webmaster until May 2001.
His favourite directors are Roberto Rossellini, Robert Bresson, Jean-Luc
Godard, Frank Borzage and Chantal Akerman.
Check out his website, Innersense.
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You can email Bill.
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Assistant to the
Editor - Grant McDonald,
36, studies film at the University of Melbourne. He orignally studied
in the Italian Department and has a special love for Italian cinema.
Two of his favourite directors are Brian De Palma and Pedro Almodóvar
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You can email Grant.
Senses of Cinema
(ISSN 1443-4059) is published approximately bi-monthly by Senses of Cinema
Inc.
Copyright lies with the individual
authors. All views expressed in this journal are those of the authors and not the editors
(unless indicated).
As under the Copyright Act
1968 (Australia), no part of this journal may be reproduced by any process
without the written permission of the editors except for the purposes
of private study, research, criticism or review. These works may
be read online, downloaded and copied for the above purposes but must
not be copied for any other individuals or organisations. The work itself
must not be published in either print or electronic form, be edited or
otherwise altered or used as a teaching resource without the express permission
of the author.
Senses of Cinema Inc. - 2 Furzer Street, West Preston, Victoria, 3072, Australia.
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Senses of Cinema acknowledges the financial assistance provided by Cinemedia
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Senses of Cinema is indexed in the MLA (Modern Language
Association of America) International Bibliography and is listed in the
MLA Directory of Periodicals.
All Australian content in Senses of Cinema is indexed in APAIS
(Australian Public Affairs Information Service) of the National Library
of Australia.
All reviews of individual films published in Senses of Cinema are indexed in the Movie Review Query Engine.
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