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	<title>Senses of Cinema</title>
	<link>http://www.sensesofcinema.com</link>
	<description>Issue 53</description>
	<lastBuildDate>Thu, 11 Mar 2010 13:46:29 +0000</lastBuildDate>
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	<language>en</language>
	
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		<title>2009 World Poll</title>
		<description><![CDATA[Numerous contributors from across the globe offer their selections and thoughts on their movie-going experiences in 2009. Readers should find it a fascinating overview of cinema from a multitude of countries and cultures.]]></description>
		<link>http://www.sensesofcinema.com/2010/feature-articles/2009-world-poll/</link>
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		<title>Nollywood: The Video Phenomenon in Nigeria edited by Pierre Barrot translated by Lynn Taylor</title>
		<description><![CDATA[This is an essential book on one of the most explosive film movements in recent memory, rivalling the prodigious output of Iranian films in the 1990s; the Nigerian feature film industry, which, working almost entirely in video (both digital and analogue) has racked up an astounding 9,000 full-length feature productions between 1992 and 2007. In [...]]]></description>
		<link>http://www.sensesofcinema.com/2009/book-reviews/nollywood-the-video-phenomenon-in-nigeria-edited-by-pierre-barrot-translated-by-lynn-taylor/</link>
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		<title>Building Bridges: The Cinema of Jean Rouch edited by Joram ten Brink</title>
		<description><![CDATA[Joram ten Brink’s interest in French Ethnographer-Cinéaste Jean Rouch’s (1918-2004) work “resurfaced” after the latter’s death in Africa. In October 2004, he organised the highly successful conference Building Bridges: The Cinema of Jean Rouch at London’s Institut Français. The conference attempted to remedy the Anglophone world’s unawareness of Rouch by juxtaposing and interfacing past and [...]]]></description>
		<link>http://www.sensesofcinema.com/2009/book-reviews/building-bridges-the-cinema-of-jean-rouch-edited-by-joram-ten-brink/</link>
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		<title>Correspondence</title>
		<description><![CDATA[Letter from Pip Chodorov in response to Pedro Blas Gonzalez's article on <em>2001: A Space Odyssey</em>.]]></description>
		<link>http://www.sensesofcinema.com/2009/feature-articles/correspondence/</link>
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		<title>Notes on Some Limits of Technicolor: The Antonioni Case</title>
		<description><![CDATA[Whilst looking at the long and illustrious history of Technicolor films, Murray Pomerance uncovers the remarkable uses Michelangelo Antonioni put the Technicolor process through in his 1964 Red Desert and beyond.]]></description>
		<link>http://www.sensesofcinema.com/2009/feature-articles/notes-on-some-limits-of-technicolor-the-antonioni-case/</link>
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		<title>Godard&#8217;s Comic Strip Mise-en-Scène</title>
		<description><![CDATA[Taking the three films <em>Made in USA</em>, <em>La Chinoise</em> and <em>Tout va bien</em> as a focus, Drew Morton looks at how Jean-Luc Godard (and Jean-Pierre Gorin in the latter case) engaged with the art of the comic strip.]]></description>
		<link>http://www.sensesofcinema.com/2009/feature-articles/godards-comic-strip-mise-en-scene/</link>
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		<title>Chiaroscuro: Caravaggio, Bazin, Storaro</title>
		<description><![CDATA[André Bazin and Vittorio Storaro may make for strange bedfellows, but by bringing the fabled theorist and the equally fabled cinematographer into ‘dialogue’ with one another, Angela Dalle Vacche helps clarify their respective philosophies regarding the ontology of the image.]]></description>
		<link>http://www.sensesofcinema.com/2009/feature-articles/chiaroscuro-caravaggio-bazin-storaro/</link>
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		<title>Orson Welles – Painter</title>
		<description><![CDATA[<em>Citizen Kane</em>, rightly so, owes much of its fame to its deep-focus effects, but Orson Welles’ staging of shots also points to a whole host of pictorial references. Michael Riedlinger’s analysis uncovers Welles’ ‘painterly’ eye for composition.]]></description>
		<link>http://www.sensesofcinema.com/2009/feature-articles/orson-welles-painter/</link>
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		<title>On Straub-Huillet’s Une Visite au Louvre (1)</title>
		<description><![CDATA[Sally Shafto’s introduction sets the context for the transcript to the Straub’s film that follows.]]></description>
		<link>http://www.sensesofcinema.com/2009/feature-articles/on-straub-huillets-une-visite-au-louvre-1/</link>
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		<title>Transcript to Straub &amp; Huillet’s A Visit to the Louvre</title>
		<description><![CDATA[Transcript of the dialogue, and description of visual and sound tracks to Jean-Marie Straub and Danièle Huillet’s 2004 film on Cezanne.]]></description>
		<link>http://www.sensesofcinema.com/2009/feature-articles/transcript-to-straub-huillets-a-visit-to-the-louvre/</link>
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		<title>Torture, Beauty, and Song: On Pedro Costa&#8217;s Ne Change Rien</title>
		<description><![CDATA[Natasha Subramaniam writes about the poetry and passion of Petro Costa’s recent film on singer and actress Jeanne Balibar.]]></description>
		<link>http://www.sensesofcinema.com/2009/feature-articles/torture-beauty-and-song-on-pedro-costas-ne-change-rien/</link>
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		<title>Antichrist: Chronicles of a Psychosis Foretold</title>
		<description><![CDATA[Not surprisingly, Lars von Trier’s film has divided opinion. Nor is there much consensus on how best to interpret this tale of grief, pain, and despair. Daniel Vilensky comes at this most enigmatic of films from a range of critical angles.]]></description>
		<link>http://www.sensesofcinema.com/2009/feature-articles/antichrist-chronicles-of-a-psychosis-foretold/</link>
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		<title>Brother Feeney — Francis Ford</title>
		<description><![CDATA[Elder brother to John Ford, Francis Ford had a long and distinguished career – as actor, director, writer, producer – in his own right. His influence on the younger, and more famous, Ford was far more complex than first imagined.]]></description>
		<link>http://www.sensesofcinema.com/2009/feature-articles/brother-feeney-francis-ford/</link>
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		<title>Joris Ivens: Witness to the 20th Century</title>
		<description><![CDATA[With the recent release of the European Foundation Joris Ivens’ 5 disc-DVD set, Peter Hourigan takes the opportunity to look back at the career and work of one of the most famous of documentary filmmakers.]]></description>
		<link>http://www.sensesofcinema.com/2009/feature-articles/joris-ivens-witness-to-the-20th-century/</link>
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		<title>You Must Remember This: The Warner Bros. Story: Richard Schickel in Conversation</title>
		<description><![CDATA[Film historian and filmmaker, Richard Schickel, talks at length about his documentary on the history of Warner Bros. studio from its early beginnings to the present. It makes for a fascinating and possibly unique tale in the context of the Hollywood studio system.]]></description>
		<link>http://www.sensesofcinema.com/2009/feature-articles/you-must-remember-this-the-warner-bros-story-richard-schickel-in-conversation/</link>
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		<title>No Angels: Larisa Shepitko’s Wings</title>
		<description><![CDATA[The Ukrainian director Larisa Shepitko completed only five features in her tragically short career (she was killed in a car accident in 1979). But even over the course of such a brief working life she produced a remarkably cohesive oeuvre, and developed a powerful aesthetic and vision that distinguished her from her more famous and [...]]]></description>
		<link>http://www.sensesofcinema.com/2009/cteq/no-angels-larisa-shepitkos-wings/</link>
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		<title>Andrei Roublev</title>
		<description><![CDATA[Andrei Tarkovsky’s epic film about Andrei Roublev, Russia’s most famous icon painter, is a remarkable, deeply reflexive examination of the artist’s role in his particular social-historical reality. It is also concerned with the split that occurs between an artist’s elevated desire to create an art of clear, transcendent beauty and one that is responsive to [...]]]></description>
		<link>http://www.sensesofcinema.com/2009/cteq/andrey-rublyov/</link>
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		<title>The Colour of Pomegranates</title>
		<description><![CDATA[Floundering for some way to describe obtuse or complex art, critics often rely on the adjective “poetic”. It can come to mean nearly anything in this context and the word loses any descriptive power. In The Colour of Pomegranates (Sayat Nova), the late Soviet director, Sergei Paradjanov, makes an earnest attempt to fuse poetry and [...]]]></description>
		<link>http://www.sensesofcinema.com/2009/cteq/the-colour-of-pomegranates/</link>
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		<title>The Steamroller and the Violin</title>
		<description><![CDATA[In his study of Andrei Tarkovsky’s films, Peter Green remarks, “Had it not been made by Tarkovsky, The Steamroller and the Violin would probably be of little consequence in the history of film” (1). While it is true that without Tarkovsky’s international reputation his diploma film would now be languishing, unwatched, in the depths of [...]]]></description>
		<link>http://www.sensesofcinema.com/2009/cteq/the-steamroller-and-the-violin/</link>
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		<title>Commissar</title>
		<description><![CDATA[The only male soldier in Aleksandr Askoldov’s Commissar who shows up ready for a fight as the Russian Civil War lurches on is a child. The opening scenes of this monumental film are chock-a-block with bedraggled soldiers of a defeated White army, hauling themselves and their rickety cannons from another time through a grey and [...]]]></description>
		<link>http://www.sensesofcinema.com/2009/cteq/commissar/</link>
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