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editorial
welcome to Issue 20 of our journal! Parts of this article are now hosted on the PANDORA archive of the National Library of Australia and Partners.
Several key threads make their way through this issue: the theme of nation and identity; of immigration and racial intolerance; of cinema as affective and political (Kandahar) and cinema as inexpressive of matters of history and politics (Beneath Clouds); the television aesthetic and questions of 'truth', 'reality' and entertainment in audio-visual mass culture. These are all extremely important questions, and I see Senses of Cinema as providing a forum for exploring such concerns and expressing independent and alternative views (especially in light of the recent Australian banning of Baise-Moi mid-release and the current climate of censorship). It can also be empowering in dire situations to express oneself via writing and thought, and in turn writing can have its own impact and effects. As Jake Wilson says in this issue on the topic of rhetoric, politics and the writer, “words are able to change the way we view the world, which is one way of changing the world itself.” In a way, writing is similar to filmmaking: both derive from the imagination and the intellect, both offer up ideas, values, ways of seeing, and unique formal systems, in short, both have the potential to offer the reader or viewer an alternative universe. This issue also spotlights Taiwanese filmmaker Tsai Ming-Liang, appropriately described by Jared Rapfogel in this issue as akin to a painter, and experimental cinema with an introduction to the work of Leighton Pierce and Marcel Hanoun, both little known yet prolific. Another main thread weaving itself through this issue is that of film criticism and film critics, which includes interviews with important film critics from Australia and America, and a major, international Festschrift to one of the great writers on film, Raymond Durgnat, edited by Adrian Martin, who reflects above on the recent passing of this great figure. This issue also marks the inaugural edition of an exciting and integral new section of Senses of Cinema: “Great Directors – a Critical Database”, compiled by Bill Mousoulis with assistance from Michelle Carey. Senses of Cinema's strong cinephilic slant extends in this section, which comprises comprehensive entries on important directors in the history of cinema. The content is easily accessible, delightful to look at and extremely informative. To rather official news, Senses of Cinema has recently become an Amazon affiliate, which means that any Amazon purchases made through the site generates small revenue to the journal. I only say this because making such purchases supports a journal, which is run mainly on a labour of love. And thankyou to all those who have given their every inch to contribute their bit to this issue and for making it what it is. Fiona A. Villella, Editor 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?
about us
If you have a suggestion for the links page, contact Albert.
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. 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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