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    • Irish Brother Feeney: Francis Ford in John Ford’s films

      Adrian Danks
      July 2010
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    • The Experimental Propagandist: Frank Capra and the Shape of Truth

      Richard Sowada
      January 2022
    • Heil Darling: a story of lips that haven’t laughed

      Pablo Gonçalo
      January 2022
    • The Night Shift: Woman as Outlaw Hero in The Man I Love

      Rob Nixon
      January 2022
    • Smooth Digital Reveries: On Proto-Vaporwave and The Flying Luna Clipper

      Dechlan Cochran
      January 2022
    • Promising Young Woman and the cinematic renegotiation of gender in rape-revenge

      Joy McEntee
      January 2022
    • Streaming paracinema: Charles Band, Full Moon Features and auteurism on third tier SVOD services

      Andrew Lynch and Alexa Scarlata
      January 2022
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      Adrian Danks
      January 2021
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      Maja Korbecka
      January 2022
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      Stuart Richards
      January 2022
    • “The cinema remains alive when it is diverse”: Interview with Jean-Gabriel Périot

      Daniel Fairfax
      January 2022
    • Do you feel lonely standing here? A conversation with Na Jiazuo

      Łukasz Mańkowski
      January 2022
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      Dirk de Bruyn
      January 2022
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      Andrew Northrop
      July 2021
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      Adrian Danks
      October 2002
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      Jeremy Carr
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      Tom Cunliffe
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      Charles Fairbanks
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      Dan Golding
      July 2021
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      Jeremy Carr
      July 2021
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      Hal Young
      May 2021
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      Adrian Danks
      September 2013
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      Maria Giovanna Vagenas
      February 2022
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      Kohei Usuda
      February 2022
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      Leonardo Goi
      January 2022
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      Carmen Gray
      January 2022
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      Bérénice Reynaud
      January 2022
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      Amelia Leonard and Jacob Agius
      January 2022
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      Theorising National Cinema edited by Valentina Vitali and Paul Willemen

      Adrian Danks
      November 2006
      Book Reviews
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    • The Depths of Empiricism: Werner Herzog: Ecstatic Truth and Other Useless Conquests, by Kristoffer Hegnsvad

      Tony McKibbin
      January 2022
    • Hollywood, Reinvented: Shooting Midnight Cowboy: Art, Sex, Loneliness, Liberation, and the Making of a Dark Classic, by Glenn Frankel

      Elroy Rosenberg
      January 2022
    • Rhythm and Light: Poetic Cinema and the Spirit of the Gift in the Films of Pabst, Parajanov, Kubrick, and Ruiz, by Laleen Jayamanne

      Steven Shaviro
      July 2021
    • West Side Story Redux: West Side Story: The Jets, the Sharks, and the Making of a Classic, by John Barrios

      Adrian Schober
      July 2021
    • Foraging in a Transforming Mediascape: Cinemas Dark and Slow in Digital India, by Lalitha Gopalan

      Megan Carrigy
      July 2021
    • Time Machines: After Kubrick: A Filmmaker’s Legacy, edited by Jeremi Szaniawski

      Joy McEntee
      May 2021
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    • Still Walking

      Still Walking (Hirokazu Koreeda, 2008): Continuity in (E)motion

      Adrian Danks
      June 2017
      CTEQ Annotations on Film
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    • Shockproof (Douglas Sirk, 1949): The Insanity of Romantic Desire

      Wheeler Winston Dixon
      May 2022
    • The Grotesque Loves of Jealousy, Italian Style (Ettore Scola, 1970)

      Tiia Kelly
      May 2022
    • A Geography of Fractured Desire: Michelangelo Antonioni’s L’eclisse (1962)

      Danica van de Velde
      May 2022
    • Il Deserto Rosso (Red Desert, Michelangelo Antonioni, 1964)

      Boyd van Hoeij
      May 2022
    • ‘You Can’t Make an Omelette…’ – Modesty Blaise (Joseph Losey, 1966) and the Art of Breaking Eggs

      David Melville
      May 2022
    • Fritz Lang’s Spione (1928)

      Shari Kizirian
      May 2022
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Author Adrian Danks

Adrian Danks

Adrian Danks is Associate Professor of Cinema Studies and Media in the School of Media and Communication, RMIT University. He is also co-curator of the Melbourne Cinémathèque and was an editor of Senses of Cinema from 2000 to 2014. He has published hundreds of articles on various aspects of cinema and is the editor of A Companion to Robert Altman (Wiley-Blackwell) and American-Australian Cinema: Transnational Connections (Palgrave).

“A pin for me ’at”: Fritz Lang’s Man Hunt (1941)

Adrian Danks
May 2022
CTEQ Annotations on Film
Man Hunt is the first of a string of four bold anti-Nazi films – along with Hangmen Also Die! (1943), Ministry of Fear (1944) and Cloak and Dagger (1946) – that Fritz Lang made between 1941 and 1946. It is also...

Children of the Revolution: Abbas Kiarostami’s First Graders (1984)

Adrian Danks
January 2022
CTEQ Annotations on Film
Avaliha (First Graders, 1984) is a fascinating transitional work in Abbas Kiarostami’s career. Although it is, in many ways, a precursor to both Khane-ye doust kodjast? (Where is the Friend’s House?, 1987) and ...

Some Enchanted Evening: Mitchell Lesien and Preston Sturges’ Remember the Night (1940)

Adrian Danks
January 2022
CTEQ Annotations on Film
Mitchell’s Leisen’s Remember the Night (1940) is most commonly discussed as the last film Preston Sturges wrote before becoming a director. It is often paired with another film directed by Leisen, Hold Back the...

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

Adrian Danks
July 2021
Australian Autofiction
“The time for action is over… The time for reflection begins.” In Margot Nash’s deeply personal essay film The Silences (2015), she mines her own past, memory, history and previous filmmaking practice to tell ...

Pit Stop: Billy Wilder’s Mauvaise graine (1934)

Adrian Danks
April 2021
CTEQ Annotations on Film
The low budget, independently-produced Mauvaise graine (1934) is an outlier in Billy Wilder’s career. Although it characteristically illustrates the value and practice of collaboration – it was co-directed by t...

Hard Labour: Cecil Holmes’s Captain Thunderbolt (1953)

Adrian Danks
April 2020
CTEQ Annotations on Film
This is an extended and amended version of an article that first appeared in Directory of World Cinema: Australia & New Zealand, edited by Ben Goldsmith and Geoff Lealand (Intellect: Bristol and Chicago, 20...

The Masquerade is Over: Billy Wilder’s The Private Life of Sherlock Holmes (1970)

Adrian Danks
April 2020
CTEQ Annotations on Film
The Private Life of Sherlock Holmes (1970) was one of the projects closest to Billy Wilder’s heart – an organ that some commentators question even existed. It is also a notoriously vexed and incomplete work, co...

G’day Comrade: Cecil Holmes’s Three in One (1956)

Adrian Danks
April 2020
CTEQ Annotations on Film
This is an extended and amended version of an article that first appeared in Directory of World Cinema: Australia & New Zealand, edited by Ben Goldsmith and Geoff Lealand (Intellect: Bristol and Chicago, 20...

“Welcome to Bottleneck”: Peak Hollywood in Destry Rides Again (George Marshall, 1939)

Adrian Danks
March 2020
CTEQ Annotations on Film
Despite a directorial career in film and television that spread from the mid-1910s to the early 1970s, taking in a series of sustained collaborations with prominent stars (such as Bob Hope and Glenn Ford) and s...

Hear That Lonesome Whippoorwill: Terence Davies’ The Neon Bible (1995)

Adrian Danks
October 2019
CTEQ Annotations on Film
I was interested in the nature of the book, which is actually about failure. And very few things in America seem to me to be about failure, because it’s a society geared to success, and failure is not only kind...

Riding, Jumping, Standing Still: Junior Bonner (Sam Peckinpah, 1972)

Adrian Danks
October 2018
CTEQ Annotations on Film
Although Sam Peckinpah’s films are routinely described in terms of their often-fetishistic fascination with violence, influential deployment of such devices as slow motion, split screen and contrapuntal editing...

The Turning of the Earth: Elia Kazan’s Wild River

Adrian Danks
March 2018
CTEQ Annotations on Film
Although Elia Kazan is most well known for films such as A Streetcar Named Desire (1951), On the Waterfront (1954) and East of Eden (1955) that feature heightened, often hyper-masculine and definitively express...

Established in Melbourne (Australia) in 1999, Senses of Cinema is one of the first online film journals of its kind and has set the standard for professional, high quality film-related content on the Internet.

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