Special Dossiers – Senses of Cinema

Special dossiers from 2015 onwards. For older dossiers, visit our issue archive.

Australian Autofiction

Australian Autofiction: A Filmmaker Roundtable by Chris Luscri

Chris Luscri

July 2021
Corinne Cantrill’s In this Life’s Body – A Personal Experience

Margot Nash

July 2021
Breathing Under Water: a film by Susan Murphy Dermody

Felicity Collins

July 2021
The Dissolution of Self

Dirk de Bruyn

July 2021
Action and Reflection: Autobiography, Film History and the Australian Independent Documentary

Adrian Danks

July 2021
Singing songs of sevdalinka in Saidin Salkic’s The Shells Exploding Gently

Chris Luscri

July 2021
Structures of Obsession: A Partial Appreciation of Philip Tyndall’s Words and Silk

Jack Rowland

July 2021
Fear of the Dark

Dirk de Bruyn

July 2021
My Life Without Steve

Philippa Hawker

July 2021
Some notes on My Blessings

Fiona Villella

July 2021
On Filming the Unimaginable: Memory, Silence and Time in Allison Chhorn’s The Plastic House

Julia Flaster

July 2021

WHAT WILL BECOME OF CINEMA? POSTCARDS FOR THE FUTURE

Introduction

Marcelo Alderate, Cecilia Barrionueva and Michelle Carey

May 2021
The Seahorse

Francisco Algarín Navarro

May 2021
Wellman for the Win

Lautaro García Candela

May 2021
¡Finland Albertina!

Albertina Carri

May 2021
Two Letters from São Paulo

Aaron Cutler

May 2021
At the end of the day, I made a “film diary”

Mónica Delgado

May 2021
Our Future Lies in the Past (and Archives Can Lend a Hand)

Paula Félix-Didier

May 2021
Plague Diary (March-October 2020)

Lucas Granero

May 2021
Unearthing Cinema, Learning to Breathe

Victor Guimarães

May 2021
The 400 Cyborgs

Roger Koza

May 2021
Optimism

James Lattimer

May 2021
History of Cinema

Mariano Llinás

May 2021

POP MUSIC IN FILM

‘60s American pop in Dyn amo (1972)

Darragh O’Donoghue

October 2020
Liminality in a Microcosm: “California Dreaming” in Wong Kar-Wai’s Chungking Express (1994)

Fabian Reinhard

October 2020
“Can I get an encore?” On “Numb/Encore” in Michael Mann’s Miami Vice (2006)

Hugo Emmerzael

October 2020
On the Wire soundtrack in Carlos (2010)

Jean-Baptiste de Vaulx

October 2020
“All These Things That I’ve Done” in Southland Tales (2006)

Keva York

October 2020
Far From the Sea in Tinker Tailor Soldier Spy (2011)

Joanna Di Mattia

October 2020
On Wang Chung’s title track and score in To Live and Die in LA (1985)

Lee Hill

October 2020
Everybody Wants Some Sugarhill Gang

Lidiya Josifova

October 2020
Teddys, Rock ‘n’ Roll and Anita Ekberg: La Dolce Vita

Stephen Gaunson

October 2020
Ecstatic Moments Out of Time

Wheeler Winston Dixon

October 2020
Murder, Mystery & Music: “Jaan Pehechaan Ho” in Gumnaam (1965)

Martyn Bamber

October 2020
Spirits Soaring: Pop music in Bande de filles (2014)

Fiona Villella

October 2020

THE SHINING AT 40

CINEMA IN THE AGE OF COVID

The Shock of the Old: The ‘Documentary’ Fiction Film Moment with COVID-19

Djoymi Baker

July 2020
Solitary Cinéastes: Filmmakers and Filmmaking in Isolation

Martyn Bamber

July 2020
Cinephilia in Quarantine

Katherine Connell

July 2020
Corona Experimental Film Culture

Gwendolyn Audrey Foster

July 2020
Two Bags of Doritos

Michael Robinson

July 2020
Domestic Gestures: Revisiting Jeanne Dielman in Social Isolation

Alexandra Trnka

July 2020
Film in the Age of COVID

Fiona Villella

July 2020
The New Normal

Varun Kalia

July 2020
Remains to be Streamed

Kristy Matheson

July 2020
Reevaluating Hollywood History in Lockdown

Robert Koehler

July 2020
Film in Lockdown

Wheeler Winston Dixon

July 2020

THIS IS WHAT DEFINED CINEMA IN THE 2010S

Introduction: This is what defined cinema in the 2010s

Mark Freeman and César Albarrán-Torres

October 2019
Digital Disquietude in the Screencast Film

Jamie Tram

October 2019
What Happened? The Digital Shift in Cinema

Wheeler Winston Dixon

October 2019
The Franchise Era: Blockbuster Hollywood in the 2010s…and Beyond

Tara Lomax

October 2019
The Marvel Method: How Marvel dominated franchising filmmaking

Liam Burke

October 2019
The echo of the Three Amigos

Abel Muñoz Hénonin

October 2019
3/11 Cinema

Kenta McGrath

October 2019
Serial Rep-Cinema and Community Cinema-Going

Claudia Sicondolfo

October 2019
Hard Women: Representations of older femininities in 2010s’ horror

Samantha Broadhead

October 2019
Moonlight as a ‘Mass Art’ Film

Peter Verstraten

October 2019
The Old Dark House: Cinemagoing in the age of streaming

Martyn Bamber

October 2019
Magical Summer Nights: Outdoor Cinema’s Communal Pleasures

Jonathan Petrychyn

October 2019

COMMUNIST UTOPIANS: THE FILMS OF JEAN-MARIE STRAUB AND DANIÈLE HUILLET

Introduction: Communist Utopians: The Films of Jean-Marie Straub and Danièle Huillet

Daniel Fairfax

October 2019
Straub-Huillet, Brecht and the Two Avant-Gardes

Martin Brady

October 2019
Straub/Huillet’s Ecological Communism

Daniel Fairfax

October 2019
Moses and Aaron: On the Aesthetics of Equal Distribution

Ute Holl

October 2019
Mourning-work: Straub’s Solo Films (2007-2018)

Claudia Pummer

October 2019
Stalking the Invisible: On Cinematic Winds in the films of Joris Ivens and Jean-Marie Straub/Danièlle Huillet

Dalia Neis

October 2019
A War Film: Antigone by Danièle Huillet and Jean-Marie Straub

Benoît Turquety

October 2019
The Dialectic of Cinema, Theatre and Life: Danièle Huillet and Jean-Marie Straub

Thomas Voltzenlogel

October 2019
Goodbye to Danièle

Fabrice Ziolkowski

October 2019

HIGHLIGHTS FROM 20 YEARS OF SENSES OF CINEMA

Welcome to our inaugural issue! (Issue 1, December 1999)

the editors

October 2019
The Audio-Spectator: An Interview with Michel Chion (Issue 84, September 2017)

Daniel Fairfax

October 2019
Great Directors: Terence Davies (Issue 84, September 2017)

Joanna Di Mattia

October 2019
Miyazaki’s Heroines (Issue 40, July 2006)

Freda Freiberg

October 2019
Great Directors: Maya Deren (Issue 23, December 2002)

Wendy Haslem

October 2019
Cinema, Race and the Zeitgeist: On Pulp Fiction Twenty Years Later (Issue 72, October 2014)

Michael Green

October 2019
Invested in Expression or in Its Destruction?: The Politics of Space and Representation in Chantal Akerman’s Cinema (Issue 64, September 2012)

Zain Jamshaid

October 2019
Erosion by Desire: Marguerite Duras’ Self-Adaptations (Issue 88, October 2018)

Danica van de Velde

October 2019
Of Mechanisms and Machines: Brazil’s New New Cinema (Issue 89, December 2018)

Stefan Solomon

October 2019
The Mechanics of Continuity in Michael Bay’s Transformers Franchise (Issue 75, June 2015)

Bruce Isaacs

October 2019
Wake in Fright: An Interview with Ted Kotcheff (Issue 51, July 2009)

Raffaele Caputo

October 2019
Love and Social Marginality in Samson and Delilah (Issue 51, July 2009)

Therese Davis

October 2019

THE ANALOGUES OF PETER STRICKLAND

VALÉRIE MASSADIAN AND THE AESTHETICS OF CARE

The Tender Force of Valérie Massadian

Maura Edmond and John Edmond

March 2019
48.8566° N, 2.3522° E, Winter Solstice 2017

Valérie Massadian

March 2019
Nasty laugh Milla, beautiful Milla

Annabel Brady-Brown

March 2019
Bressonian Resistance: On Valérie Massadian’s Nana

Ela Bittencourt

March 2019
The Body is a Fact

Leo Goldsmith

March 2019
Letter to Kelyna

Valérie Massadian

March 2019
Interview with Valérie Massadian: More Feeding, Less Screaming

John Edmond and Maura Edmond

March 2019
Supreme Instants: Valérie Massadian’s Nana and Milla

Michael Sicinski

March 2019
Inventing is Prohibited

Luc Chessel

March 2019
Milla and Motherhood

Andie Fox

March 2019

LATIN AMERICAN CINEMA TODAY: AN UNSOLVED PARADOX

Latin American Cinema today: an unsolved paradox (Introduction)

the editors

December 2018
Argentine cinema after the New: Territories, languages, medialities

Jens Andermann

December 2018
Contemporary Chilean cinema: a provisional cartography of an expanding field

Valeria de los Ríos Escobar and César Albarrán-Torres

December 2018
Contemporary Colombian cinema: the splintered mirror of a country

Pedro Adrián Zuluaga and Gabriella Munoz

December 2018
Healing through curation: a conversation between three indigenous image curators in the Abya Yala movement

Amalia Córdova, David Hernández Palmar, Francisco Huichaqueo and Mauricio Rivera

December 2018
Of Mechanisms and Machines: Brazil’s New New Cinema

Stefan Solomon

December 2018
The dream of a Mexican film industry

Abel Muñoz Hénonin

December 2018
“The Film is the Sweat”: An Interview with João Moreira Salles

Marco Abel

December 2018
The (non-exhaustive) cinephile’s guide to 21st century Latin American cinema(s)

the editors

December 2018

CLEVERMAN AND AUSTRALIAN SUPERHEROES

Cleverman and Australian Superheroes (Introduction)

Angela Ndalianis and Liam Burke

December 2018
We Need Another Hero: The Incompatibility of Superheroes and Australia

Liam Burke

December 2018
Dreamtime Mutants and Urban Vigilantes: Aboriginal Superheroes in American Comics

Kevin Patrick

December 2018
Visualising Life: Cleverman and the Vitalist Body

Paul Atkinson

December 2018
“Too Busy Building a World to Tell a Story”: Between World-Building and Storytelling in the Cleverman Storyworld

Tara Lomax

December 2018

THE SECOND GENERATION: FRENCH CINEMA AFTER THE NEW WAVE

The Second Generation: French Cinema After the New Wave (Introduction)

David Heslin

October 2018
An Unsentimental Education: Children in the Films of Jacques Doillon

Joanna Di Mattia

October 2018
Courting Disaster: Unromantic Entanglements and Warped Affections in André Téchiné’s Post-New Wave Cinema

Glenn Heath Jr.

October 2018
Erosion by Desire: Marguerite Duras’ Self-Adaptations

Danica van de Velde

October 2018
The Imitation Game: Jean Eustache’s My Little Loves

Stefan Solomon

October 2018
To Circle the Empty Space: Philippe Garrel’s Marie pour mémoire and Le bleu des origines

Gérard Courant

October 2018
Paul Vecchiali, a Cinematic Franc-Tireur

Daniel Fairfax

October 2018
A Ferocious Modesty: Benoît Jacquot’s The Wings of the Dove

David Melville

October 2018
Colloidal Images: The Silent Films of Philippe Garrel

Grant Bromley

October 2018
Casually Radical: Three Films by Jacques Rozier

Tope Ogundare

October 2018
Vampire Country: Sex and Psychoanalysis in the Films of Catherine Binet

David Heslin

October 2018
Maurice Pialat: Acts of Grace

Max Nelson

March 2012

STARDUST MEMORIES: CINEPHILIA AND NOSTALGIA

Stardust Memories: Cinephilia and Nostalgia (Introduction)

Daniel Fairfax

June 2018
Speaking of the Dead

Tony McKibbin

June 2018
Living forever in The Sweet Hereafter: film spectatorship and personal memory

César Albarrán-Torres

June 2018
Formative Portals: Nostalgia for a Slow Burn Cinephilia

Hamish Ford

June 2018
Where Is She Going?: Travelling in the films of Eric Rohmer

Tamara Tracz

June 2018
Puya and Jerry Lewis

Nafis Shafizadeh

June 2018
She knows, I feel: a lifelong windswept vortex in the Hebrides

Eloise Ross

June 2018
Dancing Daze and the Case of the Missing Campion

Alexandra Heller-Nicholas

June 2018
Thinking about Celine and Jesse: Travelling through time with The Before Trilogy

Joanna Di Mattia

June 2018
Art in Order: The Anatomy of a Film List

David Heslin

June 2018
Jean-Pierre Léaud’s Left Hand

André Habib

June 2018
The Archive of Detritus

Daniel Fairfax

June 2018

SPLIT/SCREEN CATTET/FORZANI

Strange Sounds: The Recontexualisation of Score in the Films of Hélène Cattet and Bruno Forzani

Clare Nina Norelli

June 2018
Vice and Vision: Magnifying Sergio Martino for The Strange Colour of Your Body’s Tears (2013)

Kat Ellinger

June 2018
The Gaze in Hélène Cattet and Bruno Forzani’s Amer (2009)

Michael Sicinski

June 2018
Sensorial Experimentation in O is for Orgasm (and Its Spectator)

David Evan Richard

June 2018
The Strange Shape of Their Cinema’s Body

Jeremi Szaniawski

June 2018
The Gender(s) of Genre in Cattet and Forzani’s Ambisexual Cinema

Anton Bitel

June 2018
Split/Screen
Cattet/Forzani

John Edmond and Alexandra Heller-Nicholas

June 2018
Facial Landscapes: Elina Löwensohn and Let the Corpses Tan (2017)

Alexandra Heller-Nicholas

June 2018
Interview with Ève Commenge

Jeremi Szaniawski

June 2018
A Language of Their Own: An Introduction to Hélène Cattet and Bruno Forzani

Christoph Huber

June 2018
Doors and Their Secrets: The Legacy of 1940s Hollywood in The Strange Colour of Your Body’s Tears (2013)

Martyn Conterio

June 2018
Fragments of Hélène Cattet and Bruno Forzani

Anton Bitel

June 2018

Alice in Wonderland

Cinema and the Museum

The Quarrel of the Dispositifs: Reprise

Raymond Bellour

March 2018
Crossing Boundaries: Joana Hadjithomas and Khalil Joreige’s Work in Art and Film

Kate Warren

March 2018
Alexander Sokurov’s Francofonia: Museum Studies

Alex Munt

March 2018
Cinema and the Museum: Introduction

Daniel Fairfax

March 2018
The Loop of Belatedness: Cinema After Film in the Contemporary Art Gallery

Thomas Elsaesser

March 2018
On Sound and Artistic Moving Images: Anri Sala’s Acoustic Territories

Catherine Fowler

March 2018

100 Years of Soviet Cinema

1926: Stride, Soviet! (Dziga Vertov)

Barbara Wurm

December 2017
2006: Blockade (Sergei Loznitsa)

Tatiana Efremova

December 2017
1998: Khrustalyov, My Car! (Aleksei German)

Greg Dolgopolov

December 2017
2003: Russian Ark (Aleksandr Sokurov)

Pasquale Iannone

December 2017
1971: Trial of the Road (Aleksei German)

Pasquale Iannone

December 2017
1989: The Asthenic Syndrome (Kira Muratova)

Evgeny Gusyatinskiy

December 2017
1985: Come and See (Elem Klimov)

Adrian Danks

December 2017
1972: Solaris (Andrei Tarkovsky)

Acquarello

December 2017
1975: Mirror (Andrei Tarkovsky)

Sam Ishii-Gonzales

December 2017
1962: Ivan’s Childhood (Andrei Tarkovsky)

Fergus Daly and Katherine Waugh

December 2017
1966: Andrei Roublev (Andrei Tarkovsky)

Hamish Ford

December 2017
1969: The Colour of Pomegranates (Sergei Parajanov)

Rahul Hamid

December 2017

Sartre at the Movies

Before The Battle of Algiers: Sartre, Colonialism, Industrial Cinema, and an Unmade Film

Luca Peretti

September 2017
Holidays and the Movies in Sartre’s Imagination

Dudley Andrew

September 2017
Models of the Public Intellectual: Cinema and Engagement in Sartre and Godard

Daniel Fairfax

September 2017

Screening Melbourne

Affectively Trapped, Fossilised and Fetishised: Early 1990s Melbourne through Stillness, Movement and Music in Proof (Jocelyn Moorhouse, 1991)

Diana Sandars

December 2017
Leaving Home: Kennedy Miller in Melbourne

James Robert Douglas

December 2017
Before On the Beach: Melbourne on Film in the 1950s

Adrian Danks

December 2017
Melbourne’s Capitol Theatre: “The Best Cinema That Has Ever Been Built or Is Ever Likely to Be Built”

Lisa French

December 2017
Introduction: Screening Melbourne

Sean Redmond and Glen Donnar

December 2017
Uncanny Suburbia, Hauntology and Post-Traumatic Poetics: Conversations with Dirk de Bruyn’s Conversations With My Mother (1990).

Glenn D'Cruz

November 2017
Screenwriting Melbourne/s: The Challenges of Re-presenting and Re-creating Melbourne Within a Screenplay’s Flipped-Reality Narrative

Stayci Taylor

November 2017
Sonic Disturbance and Chromatic Dissolution: The Cantrills remake Melbourne

Tessa Laird

November 2017

Revisiting Budd Boetticher

Revisiting Budd Boetticher: Introduction

Dean Brandum

June 2017
“Don’t Do Things You Don’t Know About”: An Interview With Budd Boetticher

Andrew J. Rausch

June 2017
“What the Hell’s a Nun Doin’ Out Here?”: Budd Boetticher Revised in Two Mules For Sister Sara (Don Siegel, 1970)

Eloise Ross

June 2017
Alone in the Alabama Hills: Budd Boetticher and Lone Pine

Geoff Mayer

June 2017
Budd Boetticher: The Last Hollywood Rebel

Wheeler Winston Dixon

June 2017
“No One Can Kill Me”: The Rise and Fall of Legs Diamond (Budd Boetticher, 1960)

Wheeler Winston Dixon

June 2017
Between ‘Action’ and ‘Cut’: Budd Boetticher’s Performative Arena

Paul Jeffery

June 2017
Budd and Sand – The Aesthetics of Gender in The Bullfighter and the Lady (Budd Boetticher, 1951)

David Melville

June 2017
Deaths in the Afternoon: Arruza (Budd Boetticher, 1972)

Dean Brandum

June 2017
Boetticher’s Bad Men

Jeremy Carr

June 2017
“A Full Woman Like That”: Female Resilience in Seven Men from Now (Budd Boetticher, 1956)

Amy Taylor

May 2017
Ride Lonesome: The Career of Budd Boetticher

Sean Axmaker

February 2006

Pioneering Australian Women

Pioneering Australian Women Filmmakers: Introduction

Eloise Ross

July 2017
“Film is the Art Form of Today”: An Interview with Nadia Tass

Isabella McNeill

July 2017
Girls on Film: Growing Up with Cinema Papers

Alexandra Heller-Nicholas

July 2017
Claudia Karvan: The Girl Most Likely

Alexandra Heller-Nicholas

July 2017
Questioning the “Strong Female Character”: Gillian Armstrong’s High Tide (1987)

Blythe Worthy

July 2017
High Spirits: Jo Kennedy in Starstruck (Gillian Armstrong, 1982) and Tender Hooks (Mary Callaghan, 1989)

Eloise Ross

July 2017
Floating Life: The Heaviness of Moving

Stephen Teo

July 2017
Girlhood Wild and Queer: Ana Kokkinos’s Only The Brave (1994)

Whitney Monaghan

July 2017
“Gentle, Tender, Rough, Kind and Cruel”: An Interview with director Mary Callaghan on Tender Hooks (1989)

the editors

July 2017
Trust Your Instinct: An Interview with Ann Turner

Craig Martin

July 2017
Monsters, Masks and Murgatroyd: The Horror of Ann Turner’s Celia

Craig Martin

July 2017
The Spectre at the Window: Tracey Moffatt’s beDevil (1993)

Kate Robertson

July 2017

Contemporary Cinema Studies: A Discipline With A Future?

Contemporary Cinema Studies: A Discipline with a Future? (Introduction)

Daniel Fairfax

June 2017
The Experience of a Gaze Held in Time: Interview with Jacques Aumont

Daniel Fairfax

June 2017
The Cinema is a Bad Object: Interview with Francesco Casetti

Daniel Fairfax

June 2017
We Live in a World of Images: Interview with Dana Polan

Daniel Fairfax

June 2017
A Hybrid and Composite Field: Interview with Vinzenz Hediger

Daniel Fairfax

June 2017
The Possibilities are Still to be Explored: Interview with Angela Ndalianis

Daniel Fairfax

June 2017
Transnational Traffic: Interview with Weihong Bao

Daniel Fairfax

June 2017

Two interviews with Jean-Marie Straub and Danièle Huillet

Christian Petzold

Christian Petzold: A Dossier

Jaimey Fisher and Marco Abel

September 2017
Moving Portraits: Christian Petzold and The Art of Portraiture

Jasmin Krakenberg

September 2017
“A Place without Parents”: Queer and Maternal Desire in the Films of Christian Petzold

Joy Castro

September 2017
“The Protestant Method”

Christoph Hochhäusler

September 2017
“Das ist vorbei”: Untimely Encounters with Neoliberalism in Christian Petzold’s dffb Student Films

Marco Abel

September 2017
Ghosts and their Prices: Surveillance and Image Economies in Christian Petzold’s Cinema

William Mahan

September 2017
No Time Like the Present: The Edges of the World in Christian Petzold’s Barbara

Brad Prager

September 2017
The Cinema is a Warehouse of Memory: A Conversation Among Christian Petzold, Robert Fischer, and Jaimey Fisher

Jaimey Fisher and Robert Fischer

September 2017
The Texture of History: Petzold’s Barbara and The Lives of Others

Roger Cook

September 2017
Petzold’s Phoenix, Fassbinder’s Maria Braun, and the Melodramatic Archaeology of the Rubble Past

Jaimey Fisher

September 2017

Love Letters: 1967

1967: Love Letters

the editors

March 2017
In the Heat of the Night (Norman Jewison, 1967)

Joanna Di Mattia

March 2017
A Degree of Murder (Mord und Totschlag, Volker Schlöndorff, 1967)

Alexandra Heller-Nicholas

March 2017
Accident (Joseph Losey, 1967)

Dean Brandum

March 2017
La Collectionneuse (Éric Rohmer, 1967)

Maura Edmond

March 2017
Branded to Kill (Seijun Suzuki, 1967)

Alexia Kannas

March 2017
Privilege (Peter Watkins, 1967)

Luke Goodsell

March 2017
Six Men Getting Sick (David Lynch, 1967)

Anton Bitel

March 2017
Playtime (Jacques Tati, 1967)

Sandra E. Lim

March 2017
The Jungle Book (Wolfgang Reitherman, 1967)

David Surman

March 2017
This Night I’ll Possess Your Corpse (Esta Noite Encarnarei no Teu Cadáver, José Mojica Marins, 1967)

Kat Ellinger

March 2017
Portrait of Jason (Shirley Clarke, 1967)

Rachel Brown

March 2017

Beyond The Babadook: Australian Women’s Filmmaking and the Dark Fantastic

Beyond The Babadook: Australian Women’s Filmmaking and the Dark Fantastic

the editors

December 2016
Trust Your Instinct: An Interview with Ann Turner

Craig Martin

December 2016
The Spectre at the Window: Tracey Moffatt’s beDevil (1993)

Kate Robertson

December 2016
Monsters, Masks and Murgatroyd: The Horror of Ann Turner’s Celia

Craig Martin

December 2016
Who’s Knocking in My Little House? Ursula Dabrowsky’s Inner Demon (2014)

Donna McRae

December 2016
“You’re a frigid bitch and your friend is a homo”: Coming of Age in Girl Asleep

Michelle J. Smith

December 2016
Making Magic: An Australian Women Horror Filmmakers Roundtable

the editors

December 2016

The Wind Will Carry Him: Abbas Kiarostami Remembered

The Wind Will Carry Him: Abbas Kiarostami Remembered (Introduction)

Daniel Fairfax

December 2016
Abbas Kiarostami Gallery

André Habib

December 2016
In Memory of A.K.

André Habib

December 2016
Wind: Serendipity and Cinephilia

Negar Mottahedeh

December 2016
Drinking from a Mirage

Mehrnaz Saeed-Vafa

December 2016
Poetry and Subversion: Kiarostami’s Films for One Diasporic Iranian

Shabnam Piryaei

December 2016
Five to Ten: Five Reflections on Abbas Kiarostami’s 10

Rolando Caputo

December 2003
Kiarostami, Abbas

Mehrnaz Saeed-Vafa

May 2002
A Mirror Facing a Mirror

Jared Rapfogel

November 2001
Taste of Kiarostami

David Sterritt

September 2000

American Extreme

Introduction: American Extreme

Alexandra Heller-Nicholas and Jack Sargeant

September 2016
The Pornographic Imagination Manifest: Notes On Usama Alshaibi’s The Amateurs (2003)

Jack Sargeant

September 2016
Fear of a Black Phallus: Jamaa Fanaka’s Welcome Home Brother Charles (1975)

Dean Brandum

September 2016
Divine Dog Shit: John Waters and Disruptive Queer Humour in Film

Stuart Richards

September 2016
Deracination, Disembowelling and Scorched Earth Aesthetics: Feminist Cinemas, No Wave and the Punk Avant Garde

Maura Edmond

September 2016
“A Malignant, Seething Hatework”: An Introduction to US 21st Century Hardcore Horror

James Aston

September 2016
Goodbye, McFly: Crispin Glover’s ‘It’ Trilogy and the Cinema of Reaction

Keva York

September 2016
Making Revolutionary Love: Radical Sex and Cooptation in the Films of Bruce LaBruce

Jasmine McGowan

September 2016
What’s Inside a Girl?: Porn, Horror and the Films of Roberta Findlay

Alexandra Heller-Nicholas

September 2016
The Invisible Exploding Woman

Alexandra Heller-Nicholas

September 2016

Movements: Filmmaker Interviews

New Directions in Screen Studies

Mashup Videos and the Queer Archive

Whitney Monaghan

September 2016
Corporeal Affects and Fleshy Vulnerability: Nonprofessional Performance as Process in L’humanité and Battle in Heaven

Michel Rubin

September 2016
Apparatus Theory in the Age of “New” Media: Three Cases from Cahiers du cinéma

Daniel Fairfax

September 2016
Language matters

Chloe Benson

September 2016
In Her Shoes: Flipped-realities and Female Perspectives in Comedy Screenwriting

Stayci Taylor

September 2016

"I'll See You in 25 Years": The Return of Twin Peaks and Television Aesthetics

Deconstructing Jerry: Lewis as Director

Deconstructing Jerry: Lewis as Director (Introduction)

Daniel Fairfax

July 2016
Lewis, Jerry

Chris Fujiwara

July 2016
Some Basic Characteristics of the Fool (1970)

The Melbourne Film Bulletin

July 2016
Mr Lewis, “The Idiot-Kid” and Me

Jennifer Sabine

July 2016
The Bellboy (1960)

James L. Neibaur

July 2016
The Ladies Man (1961)

Murray Pomerance

July 2016
The Errand Boy (1961)

Marco Grosoli

July 2016
The Nutty Professor (1963)

Scott Bukatman

July 2016
The Patsy (1964)

Nafis Shafizadeh

July 2016
The Family Jewels (1965)

Jeremi Szaniawski

July 2016
Three on a Couch (1966)

Chris Fujiwara

July 2016
The Big Mouth (1967)

Steven Shaviro

July 2016

Jacques Rivette

Manifest Spectres: An Interview with Robert Fischer on Jacques Rivette’s Out 1

David Heslin

July 2016
Jacques Rivette’s Out 1: From First to Last

Donatella Valente and Brad Stevens

July 2016
From the Brontëan Text to the Tableaux: Jacques Rivette’s Hurlevent

Mary M. Wiles

July 2016
A Second Wind: Jacques Rivette and Cahiers du cinéma in the Late 1960s

Daniel Fairfax

July 2016
Charting the Web: At the Demonic, Utopian Heart of Rivette’s 1970s Cinema

Hamish Ford

July 2016
Paris is a Soundstage

Miriam Bale

July 2016
The Captive Lover – An Interview with Jacques Rivette

Frédéric Bonnaud

September 2001

Mono No Aware: The Films of Abel Ferrara, 2005-2015

Mono No Aware: The Films of Abel Ferrara, 2005-2015

the editors

March 2016
Late Capitalist Atrocity Exhibition: Abel Ferrara’s Welcome To New York

James Slaymaker

March 2016
The Tao of Abel

Rowan Righelato

March 2016
Abel Ferrara gets real: Chelsea on the Rocks, Napoli, Napoli, Napoli and Mulberry St.

Tim O’Farrell

March 2016

Contemporary British Experimental Film & Video

Reflections on Contemporary British Experimental Film and Video

Deniz Johns and Simon Payne

March 2016
Two ‘Machine’ Films: About Now MMX and Ex Library

Nicky Hamlyn

March 2016
1970s Experimental Films: Then and Now

Patti Gaal-Holmes

March 2016
Negative Light: Contemporary British Experimental Film and Video

Simon Payne

March 2016
Beyond the Cringe: Australia, Britain, and the Post-Colonial Film Avant-Garde

Steven Ball

March 2016

Chantal Akerman: La Passion de L’Intime / An Intimate Passion

In Memoriam – Chantal Akerman: La Passion de L’Intime / An Intimate Passion

Bérénice Reynaud

December 2015
Speech read out during the funeral ceremony for Chantal Akerman at the Père Lachaise cemetery, Tuesday, 13 October, 2015

Delphine Horvilleur

December 2015
A Last Conversation with Chantal Akerman

Esther Orner

December 2015
With Chantal

Marilyn Watelet

December 2015
Tribute to Chantal Akerman by Claire Atherton

Claire Atherton

December 2015
Dear Chantal

Yvonne Rainer

December 2015
I Didn’t See Time Go By

Vivian Ostrovsky

December 2015
About Saute ma ville (1968), Chantal Akerman’s first film

Nicole Fernandez Ferrer

December 2015
Chantal and Some Comrades. Fragments.

Nicole Brenez

December 2015
The Loudness of the World: Listening to What is Out There: Sound Strategies in Akerman’s Fiction and Documentary Films

Babette Mangolte

December 2015
Chantal Akerman: Heartfelt

Janet Bergstrom

December 2015
Projection: On Chantal Akerman’s Screens, from Cinema to the Art Gallery

Giuliana Bruno

December 2015

The Legacy of Pier Paolo Pasolini

The Legacy of Pier Paolo Pasolini: Introduction

Luca Peretti and Daniel Fairfax

December 2015
Pier Paolo Pasolini’s “Bandung Man”: The Indian and African Documentaries

Pieter Vanhove

December 2015
Comizi di Non Amore: Francesco Vezzoli Revisits Pasolini through Reality TV

Francesco Spampinato

December 2015
(Mamma) Roma between Archaic and Modern Italy: Urbanisation and the Destruction of Poetical Dwelling

Eleonora Sartoni

December 2015
Not to be Reproduced: Pasolini’s Salò and the Question of Visual Arts

Ana Delia Rogobete

December 2015
Beyond Perverse Allegiance: The Problem of Viewers’ Engagement in Pier Paolo Pasolini’s Salò or The 120 Days of Sodom

Paolo Russo

December 2015
Anglo-American Scholarship on Pasolini Today: Cinema and cinema of poetry

Karen Raizen

December 2015
Pasolini’s “Kapadokya”

Ellen Patat and Cristiano Bedin

December 2015
The Profanation of Montage: Pasolini’s Allegorical Death/Cut in the Sequence-Shot

Toni Hildebrandt

December 2015

Australian Film History

Documentary in Asia

The Good Cats of Chinese Documentary

Bérénice Reynaud

September 2015
300 million clicks: Under the Dome and the Chinese Documentary Context

Dan Edwards

September 2015
Mapping Asian Documentary Film Festivals since 1989: Small Histories and Splendid Connections

Ma Ran

September 2015
Wages of Resistance and the Spiritual Problem of Sanrizuka

Markus Nornes

September 2015
On the Banning of a Film: Tan Pin Pin’s To Singapore, with Love

Olivia Khoo

September 2015
On Whose Behalf? Ethics in Indian Social Documentary Film and Practice

Shweta Kishore

September 2015
Sufi poets, story-telling as performance and non-violence in Indian documentary film

Anne Rutherford and Laleen Jayamanne

September 2015

Focus on David Gulpilil at MIFF 2015

We’re in Another Country – but David Gulpilil is Here to Help

Dan Edwards

July 2015
What Happened To Billy?: David Gulpilil on Mad Dog Morgan

Jake Wilson

July 2015
An Authentic Dreamtime: David Gulpilil and The Last Wave (Peter Weir, 1977)

Lisa French

July 2015

Michael Bay

Brave New World: the 2021 Cannes Film Festival

August 2021

Festival Reports

How does it feel to return to the cinema? I asked myself this question as my plane taxied on the runway at Nice airport ...

Announcement: Senses of Cinema-UniSA Essay Prize winner

July 2021

We are thrilled to announce the winner of the Senses of Cinema-UniSA Essay Prize, awarded to the best published work in ...

Welcome to Issue 99!

July 2021

As we write the Cannes film festival has just ended and triumphantly claimed itself a “return to cinema!”. 2021, which i...