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    • The Berlin Critic’s Week: A Discussion with Frédéric Jaeger and Dennis Vetter

      Adrian Danks
      March 2015
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      Andy Reischling
      October 2020
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      Andrew Brooks
      October 2020
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      Zoë Almeida Goodall
      October 2020
    • Wanda (Barbara Loden,1971)

      What’s in a Cone? Barbara Loden’s Wanda Between Weakness and Resilience

      Luise Moerke
      October 2020
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      Salvador Carrasco
      October 2020
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      Steffanie Ling
      October 2020
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      Restoration: A Personal Festival Highlight

      Adrian Danks
      June 2000
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      Sucheta Chakraborty
      January 2021
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      Leonardo Goi
      January 2021
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      Stuart Richards
      January 2021
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      Marc Raymond
      January 2021
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      Saige Walton
      January 2021
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      Kohei Usuda
      January 2021
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      Adrian Danks
      June 2013
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      Holly Willis
      January 2021
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      Wheeler Winston Dixon
      January 2021
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      Eric Gudas
      January 2021
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      Tom Ryan
      January 2021
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      Karthick Ram Manoharan
      January 2021
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      Daniel Fairfax
      October 2020
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      Banquo’s Chair (episode of Alfred Hitchcock Presents)

      Adrian Danks
      March 2003
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      David Melville
      October 2020
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      Darragh O’Donoghue
      October 2020
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      Donovan Renn
      October 2020
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      David Heslin
      October 2020
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      Cerise Howard
      October 2020
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      Martyn Bamber
      October 2020
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      Adrian Danks
      October 2018
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      October 2020
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      Adrian Schober
      April 2020
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      Abel Muñoz Hénonin
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      Jasper Mäkinen
      October 2019
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      Bruce Jackson
      July 2019
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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).

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...

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

Adrian Danks
December 2017
Screening Melbourne
“City images are historical creations, and are often more resistant to change than the modernisers anticipate, although the resistance may be stronger at some times than others.”- Graeme Davison Stanley Kr...
Come and See

1985: Come and See (Elem Klimov)

Adrian Danks
December 2017
100 Years of Soviet Cinema
Come and See (1985 Soviet Union 142 mins) Source: AFTRS Prod, Dir: Elem Klimov Scr: Klimov and Ales Adamovich Phot: Alexei Rodionov Mus: O. Yanchenko, Mozart Cast: Alexei Kravchenko, Olga Mironova, Ly...
White Heat

The Light on the Chemical Plant: Raoul Walsh’s White Heat (1949)

Adrian Danks
September 2017
CTEQ Annotations on Film
The careers of Raoul Walsh and James Cagney were never quite the same after White Heat (1949). As various commentators have suggested, this propulsive, machine-tooled, sardonically funny and often-brutal crime ...
Barton Fink

All Boxed Up: Barton Fink (Joel and Ethan Coen, 1991)

Adrian Danks
March 2017
CTEQ Annotations on Film
Barton Fink (1991), the Coen brothers’ fourth feature, represents a departure from their earlier excavations of classical American genre cinema, Blood Simple. (1984) and Miller’s Crossing (1990), as well as the...
Night Of The Hunter

The Man in Black: The Night of the Hunter (1955)

Adrian Danks
March 2017
CTEQ Annotations on Film
An earlier version of this article first appeared in CTEQ: Annotations on Film published in Metro 109 (1997): 49-50. The Night of the Hunter is a film that I am little frightened to write about; scared that th...

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