<?xml version="1.0" encoding="UTF-8"?>
<rss version="2.0"
	xmlns:content="http://purl.org/rss/1.0/modules/content/"
	xmlns:wfw="http://wellformedweb.org/CommentAPI/"
	xmlns:dc="http://purl.org/dc/elements/1.1/"
	xmlns:atom="http://www.w3.org/2005/Atom"
	xmlns:sy="http://purl.org/rss/1.0/modules/syndication/"
	xmlns:slash="http://purl.org/rss/1.0/modules/slash/"
	>

<channel>
	<title>Senses of Cinema</title>
	<atom:link href="http://www.sensesofcinema.com/feed/" rel="self" type="application/rss+xml" />
	<link>http://www.sensesofcinema.com</link>
	<description>Issue 61</description>
	<lastBuildDate>Thu, 09 Feb 2012 04:45:31 +0000</lastBuildDate>
	<language>en</language>
	<sy:updatePeriod>hourly</sy:updatePeriod>
	<sy:updateFrequency>1</sy:updateFrequency>
	<generator>http://wordpress.org/?v=3.2.1</generator>
		<item>
		<title>The Politics of Body Parts, Programming and the Redistribution of Land: The 49th Viennale</title>
		<link>http://www.sensesofcinema.com/2012/festival-reports/the-politics-of-body-parts-programming-and-the-redistribution-of-land-the-49th-viennale/</link>
		<comments>http://www.sensesofcinema.com/2012/festival-reports/the-politics-of-body-parts-programming-and-the-redistribution-of-land-the-49th-viennale/#comments</comments>
		<pubDate>Wed, 08 Feb 2012 01:05:49 +0000</pubDate>
		<dc:creator>Barbara Wurm</dc:creator>
				<category><![CDATA[Festival Reports]]></category>
		<category><![CDATA[Issue 61]]></category>
		<category><![CDATA[Issue 62]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=10745</guid>
		<description><![CDATA[In a state in which politics are generally considered synonymous with proportional representation (and that is a nice and rather euphemistic way of describing the Austrian “proporz”), it should be taken as a good habit that its main film festival shows great affection towards topics such as “democracy in process” – like the meticulous depiction [...]]]></description>
		<wfw:commentRss>http://www.sensesofcinema.com/2012/festival-reports/the-politics-of-body-parts-programming-and-the-redistribution-of-land-the-49th-viennale/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Between the lines and to the point: The 68th Venice Film Festival</title>
		<link>http://www.sensesofcinema.com/2012/festival-reports/between-the-lines-and-to-the-point-the-68th-venice-film-festival/</link>
		<comments>http://www.sensesofcinema.com/2012/festival-reports/between-the-lines-and-to-the-point-the-68th-venice-film-festival/#comments</comments>
		<pubDate>Wed, 08 Feb 2012 00:41:30 +0000</pubDate>
		<dc:creator>Barbara Wurm</dc:creator>
				<category><![CDATA[Festival Reports]]></category>
		<category><![CDATA[Issue 61]]></category>
		<category><![CDATA[Issue 62]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=10668</guid>
		<description><![CDATA[By the time this report is out, many changes have occurred within Italian and international festival politics. What is left to say now is only this much: it is indeed hard to think of a festival director with more insight and delicacy (from programming to representation) than Marco Mueller. Venice is a total cinematic pleasure, [...]]]></description>
		<wfw:commentRss>http://www.sensesofcinema.com/2012/festival-reports/between-the-lines-and-to-the-point-the-68th-venice-film-festival/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>“People are waiting”: Elia Kazan and America America</title>
		<link>http://www.sensesofcinema.com/2012/cteq/%e2%80%9cpeople-are-waiting%e2%80%9d-elia-kazan-and-america-america/</link>
		<comments>http://www.sensesofcinema.com/2012/cteq/%e2%80%9cpeople-are-waiting%e2%80%9d-elia-kazan-and-america-america/#comments</comments>
		<pubDate>Tue, 07 Feb 2012 06:47:37 +0000</pubDate>
		<dc:creator>Adrian Danks</dc:creator>
				<category><![CDATA[Cinémathèque Annotations on Film]]></category>
		<category><![CDATA[Issue 61]]></category>
		<category><![CDATA[Issue 62]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=10721</guid>
		<description><![CDATA[Martin Scorsese concludes his A Personal Journey… Through American Movies (co-directed and co-written by Michael Henry Wilson, 1995) with a brief passage from Elia Kazan’s America America (1963). This epic, physical, elemental, almost monomaniacal film is an important touchstone for Scorsese, a talisman of the passage from and between the old world of Classical Hollywood [...]]]></description>
		<wfw:commentRss>http://www.sensesofcinema.com/2012/cteq/%e2%80%9cpeople-are-waiting%e2%80%9d-elia-kazan-and-america-america/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Identity in Elia Kazan’s Splendor in the Grass</title>
		<link>http://www.sensesofcinema.com/2012/cteq/identity-in-elia-kazan%e2%80%99s-splendor-in-the-grass/</link>
		<comments>http://www.sensesofcinema.com/2012/cteq/identity-in-elia-kazan%e2%80%99s-splendor-in-the-grass/#comments</comments>
		<pubDate>Tue, 07 Feb 2012 06:45:18 +0000</pubDate>
		<dc:creator>Arthur Rankin</dc:creator>
				<category><![CDATA[Cinémathèque Annotations on Film]]></category>
		<category><![CDATA[Issue 61]]></category>
		<category><![CDATA[Issue 62]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=10711</guid>
		<description><![CDATA[Elia Kazan’s Splendor in the Grass (1961) concerns the problems encountered by two teenagers – Wilma Dean (“Deanie”) Loomis (Natalie Wood) and Bud Stamper (Warren Beatty) – living in Kansas at the end of the 1920s. Their sexual desire for each other has no outlet because of the rigid morals of the time, and leads [...]]]></description>
		<wfw:commentRss>http://www.sensesofcinema.com/2012/cteq/identity-in-elia-kazan%e2%80%99s-splendor-in-the-grass/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>East of Eden</title>
		<link>http://www.sensesofcinema.com/2012/cteq/east-of-eden/</link>
		<comments>http://www.sensesofcinema.com/2012/cteq/east-of-eden/#comments</comments>
		<pubDate>Tue, 07 Feb 2012 06:43:49 +0000</pubDate>
		<dc:creator>Michael Da Silva</dc:creator>
				<category><![CDATA[Cinémathèque Annotations on Film]]></category>
		<category><![CDATA[Issue 61]]></category>
		<category><![CDATA[Issue 62]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=10673</guid>
		<description><![CDATA[“East of Eden is more personal to me; it is more my own story. One hates one’s father; one rebels against him; finally one cares for him, one recovers oneself, one understands him, one forgives him, and one says to oneself, ‘Yes, he is like that’… one is no longer afraid of him, one has [...]]]></description>
		<wfw:commentRss>http://www.sensesofcinema.com/2012/cteq/east-of-eden/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>American Friend</title>
		<link>http://www.sensesofcinema.com/2012/cteq/american-friend/</link>
		<comments>http://www.sensesofcinema.com/2012/cteq/american-friend/#comments</comments>
		<pubDate>Tue, 07 Feb 2012 06:40:28 +0000</pubDate>
		<dc:creator>Carlota Larrea</dc:creator>
				<category><![CDATA[Cinémathèque Annotations on Film]]></category>
		<category><![CDATA[Issue 61]]></category>
		<category><![CDATA[Issue 62]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=10670</guid>
		<description><![CDATA[Discussion of the New Waves of European national cinemas that emerged after World War II has often focused on those movements’ stances towards American cinema. While Italian neo-realism and British social realism tended to be defined as filmmaking practices opposed to those of American cinema, the French nouvelle vague and the New German Cinema of [...]]]></description>
		<wfw:commentRss>http://www.sensesofcinema.com/2012/cteq/american-friend/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>L&#8217;eclisse</title>
		<link>http://www.sensesofcinema.com/2012/cteq/leclisse/</link>
		<comments>http://www.sensesofcinema.com/2012/cteq/leclisse/#comments</comments>
		<pubDate>Tue, 07 Feb 2012 06:36:34 +0000</pubDate>
		<dc:creator>Christopher Sharrett</dc:creator>
				<category><![CDATA[Cinémathèque Annotations on Film]]></category>
		<category><![CDATA[Issue 61]]></category>
		<category><![CDATA[Issue 62]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=10686</guid>
		<description><![CDATA[Michelangelo Antonioni’s name seems to have fallen somewhat into disrepute in US film culture over the last several decades, his main concerns – alienation and the collapse of communication – the subject of a collective yawn. Once seen as the cinema’s most adept observer of alienation as the dominant tone of postwar industrial civilisation, Antonioni [...]]]></description>
		<wfw:commentRss>http://www.sensesofcinema.com/2012/cteq/leclisse/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>The Passenger</title>
		<link>http://www.sensesofcinema.com/2012/cteq/the-passenger/</link>
		<comments>http://www.sensesofcinema.com/2012/cteq/the-passenger/#comments</comments>
		<pubDate>Tue, 07 Feb 2012 06:34:50 +0000</pubDate>
		<dc:creator>Jonathan Dawson</dc:creator>
				<category><![CDATA[Cinémathèque Annotations on Film]]></category>
		<category><![CDATA[Issue 61]]></category>
		<category><![CDATA[Issue 62]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=10702</guid>
		<description><![CDATA[“We know that under the image revealed there is another which is truer to reality and under this image still another and yet again still another under this last one, right down to the true image of that reality, absolute, mysterious, which no one will ever see or perhaps right down to the decomposition of [...]]]></description>
		<wfw:commentRss>http://www.sensesofcinema.com/2012/cteq/the-passenger/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>A Man Escaped</title>
		<link>http://www.sensesofcinema.com/2012/cteq/a-man-escaped/</link>
		<comments>http://www.sensesofcinema.com/2012/cteq/a-man-escaped/#comments</comments>
		<pubDate>Tue, 07 Feb 2012 06:32:00 +0000</pubDate>
		<dc:creator>Gwendolyn Audrey Foster</dc:creator>
				<category><![CDATA[Cinémathèque Annotations on Film]]></category>
		<category><![CDATA[Issue 61]]></category>
		<category><![CDATA[Issue 62]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=10699</guid>
		<description><![CDATA[“When one is in prison, the most important thing is the door.” – Robert Bresson (1) Un condamné à mort s’est échappé ou Le vent souffle où il veut (A Man Escaped, 1956) is one of Bresson’s most sublime and understated films, in a career that consists of a series of meditational masterpieces that minutely [...]]]></description>
		<wfw:commentRss>http://www.sensesofcinema.com/2012/cteq/a-man-escaped/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Les dames du Bois de Boulogne</title>
		<link>http://www.sensesofcinema.com/2012/cteq/les-dames-du-bois-de-boulogne/</link>
		<comments>http://www.sensesofcinema.com/2012/cteq/les-dames-du-bois-de-boulogne/#comments</comments>
		<pubDate>Tue, 07 Feb 2012 06:24:51 +0000</pubDate>
		<dc:creator>Manjari Kaul</dc:creator>
				<category><![CDATA[Cinémathèque Annotations on Film]]></category>
		<category><![CDATA[Issue 61]]></category>
		<category><![CDATA[Issue 62]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=10688</guid>
		<description><![CDATA[“Only the conflicts that take place inside the characters give a film its real movement.” - Robert Bresson (1) “Destiny is tragic but I prefer a fate we choose to one forced upon us.” -Agnès (Elina Labourdette) in Robert Bresson’s Les dames du Bois de Boulogne (1945) For Bresson, as Marvin Zeman puts it, life consists [...]]]></description>
		<wfw:commentRss>http://www.sensesofcinema.com/2012/cteq/les-dames-du-bois-de-boulogne/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>I Magliari</title>
		<link>http://www.sensesofcinema.com/2012/cteq/i-magliari/</link>
		<comments>http://www.sensesofcinema.com/2012/cteq/i-magliari/#comments</comments>
		<pubDate>Tue, 07 Feb 2012 06:22:44 +0000</pubDate>
		<dc:creator>Pasquale Iannone</dc:creator>
				<category><![CDATA[Cinémathèque Annotations on Film]]></category>
		<category><![CDATA[Issue 61]]></category>
		<category><![CDATA[Issue 62]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=10676</guid>
		<description><![CDATA[Released two years before his international breakthrough Salvatore Giuliano (1962), Francesco Rosi’s I magliari (1959) is the story of immigrant Italian workers seeking their fortune in late Adenauer-era West Germany. Unfairly neglected by critics and historians, the film is usually regarded a prelude to the Neapolitan director’s ambitious, labyrinthine chronicles of power and corruption of [...]]]></description>
		<wfw:commentRss>http://www.sensesofcinema.com/2012/cteq/i-magliari/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Salvatore Giuliano</title>
		<link>http://www.sensesofcinema.com/2012/cteq/salvatore-giuliano/</link>
		<comments>http://www.sensesofcinema.com/2012/cteq/salvatore-giuliano/#comments</comments>
		<pubDate>Tue, 07 Feb 2012 06:19:14 +0000</pubDate>
		<dc:creator>Darragh O’Donoghue</dc:creator>
				<category><![CDATA[Cinémathèque Annotations on Film]]></category>
		<category><![CDATA[Issue 61]]></category>
		<category><![CDATA[Issue 62]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=10705</guid>
		<description><![CDATA[The trailer for Salvatore Giuliano (1962) begins with a town crier walking down a Sicilian street, banging a drum. This is followed by a group of men distributed across the town square, one playing a Jew’s harp. The crier is proclaiming a military curfew, but could as easily be announcing a new show in town. [...]]]></description>
		<wfw:commentRss>http://www.sensesofcinema.com/2012/cteq/salvatore-giuliano/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Lucky Luciano</title>
		<link>http://www.sensesofcinema.com/2012/cteq/lucky-luciano/</link>
		<comments>http://www.sensesofcinema.com/2012/cteq/lucky-luciano/#comments</comments>
		<pubDate>Tue, 07 Feb 2012 06:16:23 +0000</pubDate>
		<dc:creator>Pasquale Iannone</dc:creator>
				<category><![CDATA[Cinémathèque Annotations on Film]]></category>
		<category><![CDATA[Issue 61]]></category>
		<category><![CDATA[Issue 62]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=10696</guid>
		<description><![CDATA[As Gian-Piero Brunetta has noted, Francesco Rosi’s Il caso Mattei (The Mattei Affair, 1972) and Lucky Luciano (1973) saw the Neapolitan filmmaker return to the narrative model of his first major success Salvatore Giuliano (1962) (1). Both films employ a non-linear structure in an attempt to outline the complex web of political and economic intrigue [...]]]></description>
		<wfw:commentRss>http://www.sensesofcinema.com/2012/cteq/lucky-luciano/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Shanghai Express</title>
		<link>http://www.sensesofcinema.com/2012/cteq/shanghai-express/</link>
		<comments>http://www.sensesofcinema.com/2012/cteq/shanghai-express/#comments</comments>
		<pubDate>Tue, 07 Feb 2012 06:13:52 +0000</pubDate>
		<dc:creator>Wheeler Winston Dixon</dc:creator>
				<category><![CDATA[Cinémathèque Annotations on Film]]></category>
		<category><![CDATA[Issue 61]]></category>
		<category><![CDATA[Issue 62]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=10708</guid>
		<description><![CDATA[“A shaft of white light used properly can be far more effective than all the color in the world used indiscriminately.” – Josef von Sternberg (1) Of all the delirious exoticisms created by Marlene Dietrich and Josef von Sternberg during their white-hot period in the 1930s at Paramount, Shanghai Express (1932) remains my favourite for [...]]]></description>
		<wfw:commentRss>http://www.sensesofcinema.com/2012/cteq/shanghai-express/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>The Last Command: Josef von Sternberg’s Life and Death of a Russian Extra</title>
		<link>http://www.sensesofcinema.com/2012/cteq/the-last-command-josef-von-sternberg%e2%80%99s-life-and-death-of-a-russian-extra/</link>
		<comments>http://www.sensesofcinema.com/2012/cteq/the-last-command-josef-von-sternberg%e2%80%99s-life-and-death-of-a-russian-extra/#comments</comments>
		<pubDate>Tue, 07 Feb 2012 06:08:35 +0000</pubDate>
		<dc:creator>Shari Kizirian</dc:creator>
				<category><![CDATA[Cinémathèque Annotations on Film]]></category>
		<category><![CDATA[Issue 62]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=10679</guid>
		<description><![CDATA[In a profile of Josef von Sternberg for the New Yorker in March 1931, the year Americans got to see the English-language version of Der blaue Engel (The Blue Angel, 1930), the author begins where most writers do when discussing the Austrian-born director who conquered Hollywood with his outré style, both on and off the [...]]]></description>
		<wfw:commentRss>http://www.sensesofcinema.com/2012/cteq/the-last-command-josef-von-sternberg%e2%80%99s-life-and-death-of-a-russian-extra/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Audience and Industry: The 24th International Documentary Festival Amsterdam</title>
		<link>http://www.sensesofcinema.com/2012/festival-reports/audience-and-industry-the-24th-international-documentary-festival-amsterdam/</link>
		<comments>http://www.sensesofcinema.com/2012/festival-reports/audience-and-industry-the-24th-international-documentary-festival-amsterdam/#comments</comments>
		<pubDate>Sun, 05 Feb 2012 01:55:32 +0000</pubDate>
		<dc:creator>Courtney Sheehan</dc:creator>
				<category><![CDATA[Festival Reports]]></category>
		<category><![CDATA[Issue 61]]></category>
		<category><![CDATA[Issue 62]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=10522</guid>
		<description><![CDATA[“You bump into experiences, films, each other, opinions&#8230;on the internet you’re always searching for something, but during a festival you’re not looking – you’re finding.” – Martijn te Pas, IDFA Program Coordinator Despite recent government spending cutbacks in the Dutch cultural sector that will massively reduce the amount of support available for film productions and [...]]]></description>
		<wfw:commentRss>http://www.sensesofcinema.com/2012/festival-reports/audience-and-industry-the-24th-international-documentary-festival-amsterdam/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>2011 World Poll</title>
		<link>http://www.sensesofcinema.com/2012/feature-articles/2011-world-poll/</link>
		<comments>http://www.sensesofcinema.com/2012/feature-articles/2011-world-poll/#comments</comments>
		<pubDate>Thu, 19 Jan 2012 03:44:25 +0000</pubDate>
		<dc:creator>Various</dc:creator>
				<category><![CDATA[Feature Articles]]></category>
		<category><![CDATA[Issue 61]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=10527</guid>
		<description><![CDATA[The Senses of Cinema 2011 World Poll presents a selection of readers' and writers' favourites (and least favourites) from the realms of theatrical release, festivals and other film culture activities from the year. ]]></description>
		<wfw:commentRss>http://www.sensesofcinema.com/2012/feature-articles/2011-world-poll/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Welcome to Issue 61 of our journal</title>
		<link>http://www.sensesofcinema.com/2011/editorial/welcome-to-issue-61-of-our-journal/</link>
		<comments>http://www.sensesofcinema.com/2011/editorial/welcome-to-issue-61-of-our-journal/#comments</comments>
		<pubDate>Tue, 20 Dec 2011 22:12:15 +0000</pubDate>
		<dc:creator>the editors</dc:creator>
				<category><![CDATA[Editorial]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=10359</guid>
		<description><![CDATA[“If ever anyone has the courage and the time to write a great chronicle of the French New Wave, I suspect that Jacques Rivette’s L’amour fou will emerge as the climax and the crisis, the moment when it becomes clear that the load carried by Truffaut and Godard had passed to the least likely of [...]]]></description>
		<wfw:commentRss>http://www.sensesofcinema.com/2011/editorial/welcome-to-issue-61-of-our-journal/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Michel Khleifi</title>
		<link>http://www.sensesofcinema.com/2011/great-directors/michel-khleifi/</link>
		<comments>http://www.sensesofcinema.com/2011/great-directors/michel-khleifi/#comments</comments>
		<pubDate>Mon, 19 Dec 2011 20:56:33 +0000</pubDate>
		<dc:creator>Tim Kennedy</dc:creator>
				<category><![CDATA[Great Directors]]></category>
		<category><![CDATA[Issue 61]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=10174</guid>
		<description><![CDATA[b. November 3, 1950 – Nazareth, Israel From his first film, Al Dhakira al Khasba (Fertile Memory, 1980), Michel Khleifi displays the narrative-documentary style – blending realism, fiction, myth, and ritual – that he goes on to develop with such great effect. He also announces some of the major themes that permeate his later work: [...]]]></description>
		<wfw:commentRss>http://www.sensesofcinema.com/2011/great-directors/michel-khleifi/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Significant Cinema: The Scene of the Crime</title>
		<link>http://www.sensesofcinema.com/2011/feature-articles/significant-cinema-the-scene-of-the-crime/</link>
		<comments>http://www.sensesofcinema.com/2011/feature-articles/significant-cinema-the-scene-of-the-crime/#comments</comments>
		<pubDate>Mon, 19 Dec 2011 06:23:16 +0000</pubDate>
		<dc:creator>Murray Pomerance</dc:creator>
				<category><![CDATA[Feature Articles]]></category>
		<category><![CDATA[Issue 61]]></category>

		<guid isPermaLink="false">http://www.sensesofcinema.com/?p=10225</guid>
		<description><![CDATA[The cinema turns every viewer into a detective. Murray Pomerance goes in search of “signs” and their significance in films.]]></description>
		<wfw:commentRss>http://www.sensesofcinema.com/2011/feature-articles/significant-cinema-the-scene-of-the-crime/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
	</channel>
</rss>

