Welcome to Issue 66 of our journal the editors March 2013 Editorial La Notte (Michelangelo Antonioni, 1961) This issue of Senses is dedicated to the memory of Nicola White (1964-2013). Nicola – or “Nicki” as she was affectionately known to friends and colleagues – joined Se...
To the Viewer: On Nicholas Ray’s We Can’t Go Home Again Susan Ray March 2013 Feature Articles It’s taken almost four decades to bring you Nick’s last full-length film We Can’t Go Home Again, and not for lack of trying. Why so long? We couldn’t ...
In Dreams and Imagination: Surrealist Values in Mulholland Dr. and Inland Empire Michael Pattison March 2013 Feature Articles Given that Surrealism is commonly cited as one of many artistic influences on David Lynch, attempts to view his films within this framework are surpri...
Notes on Sans Soleil Murray Pomerance March 2013 Feature Articles 1 “I’ve been around the world several times, and now only banality still interests me.” At the beginning of Chris Marker’s Sans soleil (1983), a voi...
Umwelt and the Paradoxes of Landscape in Lupu Pick’s Sylvester and Pier Paolo Pasolini’s Teorema Tyson Wils March 2013 Feature Articles Introduction Writing in 1996, Matthew Gandy pointed out that landscape was an underrepresented area in cinema studies. (1) By 2012, it can be said ...
Poetry in the Air: Mad Bastards and Toomelah Lorraine Mortimer March 2013 Feature Articles I. Where the Crocodiles Are: Mad Bastards I am really proud of this movie most of all because it does justice to the tough men of The Kimberley who h...
The Angels’ Share: Ken Loach and Paul Laverty Lift Scotland’s Kilts to Expose Its Darker Parts David Martin-Jones March 2013 Feature Articles The Angels’ Share (2012) is a Cannes Jury Prize winning film. Given this accolade it seems a little surprising that the film’s central focus is whisky...
Thank God We Don’t Have a Pope: Habemus Papam, Moretti’s Apocalypse Marko Bauer March 2013 Feature Articles “As nihilism becomes more and more the norm, the symbols of emptiness spread much more terror than those of power do.” – Ernst Jünger One nearly mis...
It All Flows Back: Treed Murray and the Limits of Urban Community Zachary Abram March 2013 Feature Articles In the Canadian Oscar winning animated short Ryan (Chris Landreth, 2004), the narrator laments “I live in Toronto, a city in Canada, where I see too m...
Bodies in Filmic Space: The Mise en Scène of ‘Courtship Readiness’ in The Big Sleep Warren Buckland March 2013 Feature Articles Adrian Martin reminds us that mise en scène is ‘the art of bodies in space’. (1) The human body, particularly in motion, generates a complex series of...
Sirk, Hollywood and Genre Tom Ryan March 2013 Feature Articles The Douglas Sirk discovered by criticism has gone through numerous phases. For me, the most telling is the one which has excavated from his work not o...
Vertigo: The Best Film of All Time? Peter Wertz March 2013 Feature Articles Way back in 1982, Vertigo debuted on the BFI’s Sight & Sound Poll of Best Films at number 7. Since then it has slowly ascended, finally summiting ...
Laura: Noir of Identity and Illusion Matthew Sorrento February 2013 Feature Articles In Billy Wilder’s Double Indemnity (1944), the murder of Tom Powers’ character is built up through the two lovers/killers’ plans. And yet the scheme c...
Along the Tiger Path: The 42nd International Film Festival Rotterdam Marc Saint-Cyr March 2013 Festival Reports Early on in the 2013 edition of the International Film Festival Rotterdam, at about the third or fourth appearance of its distinctive, looming tiger l...
The More Things Change, the More They Stay the Same: The 2012 Alternative Film/Video Festival Dirk de Bruyn March 2013 Festival Reports Have no respect, it’s only film. – Vassily Bourikas The Alternative Film/Video Festival in Belgrade has historically been one of a triumvirate of cr...
Brave Art House Exhibitors: The 6th Annual Art House Convergence Lisa Franek March 2013 Festival Reports The 2013 Art House Convergence celebrated its 6th incarnation with the largest number of attendees ever, along with the theme of The Brave New America...
Berlin: A Winter’s Tale: The 65th Berlin International Film Festival Daniel Fairfax March 2013 Festival Reports It was in the sad month of February, When the days had become dreary, And when the wind whipped at the trees, That I made my way to Germany. And ...
The Dark Side of Paris: The Second Festival du film fantastique and the Fourteenth Festival des cinémas différents et expérimentaux Gemma King March 2013 Festival Reports Despite being the world’s biggest tourist destination, Paris still thrums with its own creative energy. Montmartre may now be the realm of cheesy port...
“There is nothing moving in cinema”: The Experimenta Weekend at the 56th BFI London Film Festival Matthew Flanagan March 2013 Festival Reports The annual Experimenta Weekend, programmed by Mark Webber, takes place at the end of London Film Festival, and informally functions as a self-containe...
The Youth of Others: The 2012 AFI FEST & American Film Market (AFM) Bérénice Reynaud March 2013 Festival Reports It is always ‘before the Revolution’ for us, sons of the bourgeoisie. – Bernardo Bertolucci, Prima della rivoluzione (1964) Invited as Guest Artisti...
A Sense of Space: The 32nd Sundance Film Festival & the 21st PanAfrican Film & Arts Festival Bérénice Reynaud March 2013 Festival Reports Fruitvale We were lucky. The cold front that had swept through most of the US in January receded on time, so we could enjoy the relatively mild we...
DeMille, Cecil B. Anton Karl Kozlovic March 2013 Great Directors b. Cecil Blount deMille, 12th August 1881, Ashfield, Massachusetts, USA d. 21st January 1959, Hollywood, California, USA 1. The Enigmatic Pop Cult...
To Sign One’s Life (With Cinema) Francesco Rosi, Giuseppe Tornatore. Io lo Chiamo Cinematografo. Daniele Rugo March 2013 Book Reviews In the midst of one of his conversations with fellow director Giuseppe Tornatore, Francesco Rosi interrupts his own argument and says: ‘You should hav...
Angela Dalle Vacche (ed), Film, Art, New Media: Museum without Walls? Dimitrios Latsis March 2013 Book Reviews Film, Art, New Media A salient characteristic of theoretical discourse in any field is its cyclical nature. Debates of one generation of theorists...
Giorgio Mangiamele. Cinematographer of the Italian Migrant Experience Federico Passi March 2013 Book Reviews After years of neglect, the story and films of Giorgio Mangiamele has now become the object of wider attention with the release of a DVD box set and p...
Jedda by Jane Mills Lia McCrae-Moore March 2013 Book Reviews In her new book Jane Mills reinterprets and critiques one of Australia’s most controversial film classics, Jedda (Charles Chauvel, 1955).This book bel...
Alexander Kluge: ‘something almost monstrous in so much talent’ Daniel Fairfax March 2013 Book Reviews Alexander Kluge: Raw Materials for the Imagination by Tara Forrest (ed.) Is there anybody on the face of the Earth, in any field of the arts or scien...
The Beauty of the Real: What Hollywood Can Learn From Contemporary French Actresses by Mick LaSalle Kath Dooley March 2013 Book Reviews In 2008 French actress Catherine Deneuve (then aged sixty-four) made her 100th screen appearance in Arnaud Desplechin’s Un Conte de Noel/A Christmas T...
The Confessions of a Justified Filmgoer Tony McKibbin March 2013 Book Reviews J. Hoberman's Film After Film: Or, What Became of 21st Century Cinema? In Totally, Tenderly, Tragically, critic and essayist Phillip Lopate says,...
Cinémathèque Annotations on Film the editors March 2013 CTEQ Annotations on Film Contents Darragh O’Donoghue on Ballad of Narayama Brian Darr on Carmen Comes Home Gregory Dolgopolov on Khrustalyov, My Car! Tara Judah o...
Property is No Longer a Theft Gino Moliterno March 2013 CTEQ Annotations on Film In his later years Elio Petri’s sardonic sense of humour appears to have allowed him to savour the irony of having been perhaps the only front-rank It...
Carmen Comes Home Brian Darr March 2013 CTEQ Annotations on Film Hideko Takamine lined up with her uncle at the Shochiku studio for an audition for the Hotei Nomura film Haha (Mother, 1929). Already adorable at the ...
Comrades Tara Judah March 2013 CTEQ Annotations on Film Bill Douglas was 57 when he died, leaving the world with a handful of student films, three unproduced screenplays, his highly acclaimed Trilogy , and ...
Khrustalyov, My Car! Greg Dolgopolov March 2013 CTEQ Annotations on Film One of the most disturbing Russian films of all time, Khrustalyov, mashuni (Khrustalyov, My Car!, 1998) provides the audience with a firsthand experie...
L’assassino Pasquale Iannone March 2013 CTEQ Annotations on Film Among the great wave of film debuts in the late 1950s and early 1960s, that of Rome-born director Elio Petri is often overshadowed by those of his con...
The Man with the Golden Arm Rachel Brown March 2013 CTEQ Annotations on Film Two years after his censorship battle over The Moon is Blue (1953), Otto Preminger again provoked the censors with his 1955 film The Man with the Gold...
La decima vittima Wheeler Winston Dixon March 2013 CTEQ Annotations on Film In the early to mid 1960s, the Italian cinema was going through a sort of renaissance, as it not only produced important films by such renowned cineas...
Todo modo Gino Moliterno March 2013 CTEQ Annotations on Film Beginning with the socially-committed films of neo-realism, postwar Italian cinema became, perhaps even more than Italian postwar literature, a form t...
Anatomy of a Murder John Fidler March 2013 CTEQ Annotations on Film In an interview with his fellow filmmaker Peter Bogdanovich, Otto Preminger speaks of the influence of the law on his life and work. Preminger’s fathe...
The Sun in a Net Peter Hourigan March 2013 CTEQ Annotations on Film At various points in Štefan Uher’s Slnko v sieti (The Sun in a Net, 1962) there are reminders of the many ways we look at the world. We may use smoked...
Trial of the Road Pasquale Iannone March 2013 CTEQ Annotations on Film In her 2007 study of the Russian war film, Denise J. Youngblood argues that while Soviet society was in a state of stagnation in the 1970s, the Soviet...
Prénom Carmen Lee Hill February 2013 CTEQ Annotations on Film Jean-Luc Godard’s Prénom Carmen (First Name: Carmen, 1983) is the third film, after Sauve qui peut (la vie) (Every Man for Himself/Slow Motion, 1980) ...
Two or Three Things I Know About Her Hamish Ford February 2013 CTEQ Annotations on Film Deux ou trois choses que je sais d’elle (Two or Three Things I Know About Her, 1967) is a very special entry in the remarkable filmography of Jean-Luc...
The Passion of the Peasant Poet: Jiří Trnka, A Midsummer Night’s Dream and The Hand Cerise Howard February 2013 CTEQ Annotations on Film “The very name conjures up childhood & poetry.” (1) – Jean Cocteau “‘Mr. Deitch, I am a very famous man!’ Jiří Trnka was indeed a very famous m...
“Kissin’ the Breeze Goodbye”: Otto Preminger and Carmen Jones David Melville February 2013 CTEQ Annotations on Film Once upon a time – this is a true story – there was a poor old woman who loved opera to death, and who probably was not rich enough to afford herself ...
Ballad of Narayama Darragh O’Donoghue February 2013 CTEQ Annotations on Film Keisuke Kinoshita was the cineaste laureate of Official Japan, his films seeming to pander to his audience rather than challenge it. His best-loved wo...
Memoir of Albie John Flaus March 2013 Albie Thoms Dossier, John Flaus Dossier “Another sacred fire has gone out…” That’s the opening line of the poem I recited at the wake for Shelton Lea in 2005. Now I want to say it again for ...
From Ubu Roi to My Generation: A Tribute to Albie Thoms Adrian Danks March 2013 Albie Thoms Dossier Albie Thoms, 1997 (Photo: Peter Mudie) Albie Thoms (1941-2012) was one of the most significant figures of Australian postwar film culture. In a pe...
Why Albie Thoms? – A Singular Commitment and a Figure Displaced Barrett Hodsdon March 2013 Albie Thoms Dossier The Memorial Event – Thoms’ Resurrection On 17 December 2012, a large group of people came together in Paddington Town Hall to celebrate Albie Thom...
The Ubu Moment and Australian Experimental Film: Interviews with Albie Thoms Otherfilm March 2013 Albie Thoms Dossier By Danni Zuvela for OtherFilm Albie Thoms (1941-2012) led a remarkable life. Perhaps most well-known as a filmmaker and founder of the pioneering a...
Albie Thoms Refractions Otherfilm March 2013 Albie Thoms Dossier By Danni Zuvela for OtherFilm The scene is a screen, but split into three. A line, radiating from centre frame, separates the left trident (tinted ...
Albie – A Well-Directed Life Tina Kaufman March 2013 Albie Thoms Dossier Albie Thoms at the Sydney Underground Film Festival One of the last things Albie Thoms did before he died late last year was organise a launch par...
Albie Thoms (dissimilis aliqua alia) Peter Mudie March 2013 Albie Thoms Dossier Unlike any other, without a doubt. For everyone that knew Albie, had worked with him, had shared a laugh or had watched his films and read his writ...
Days of Future Past: Albie Thoms’ Polemics Jake Wilson March 2013 Albie Thoms Dossier I met Albie Thoms only once, in 2009, when the Australian Centre for the Moving Image revived his 1969 feature Marinetti – an avant-garde extravaganza...
Albie Thoms as an Historian Graham Shirley March 2013 Albie Thoms Dossier In the 1970s I was a regular reader of Albie Thoms’ articles on Australian cinema – with their emphasis on alternative filmmaking – in Filmnews, and a...
Memoir of Albie John Flaus March 2013 Albie Thoms Dossier, John Flaus Dossier “Another sacred fire has gone out…” That’s the opening line of the poem I recited at the wake for Shelton Lea in 2005. Now I want to say it again for ...
