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  • Dossiers
  • Features
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    • The Larrikin Girl: Challenging archetypes in Australian cinema

      Amanda Barbour
      October 2022
      Feature Articles
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    • When Knowledge Takes Over Action: A Narrative Analysis of Three Georgian Conflict-Sensitive Films: The Other Bank, Tangerines, and Corn Island

      Khatuna Maisashvili
      January 2023
    • Values of Baz Luhrmann’s Elvis: A Carnival Ride

      Laleen Jayamanne
      January 2023
    • Fellini’s Memory: Amarcord

      Bruce Jackson
      January 2023
    • More than Mimicry: On Puppets and Interdependency in Annette and The Double Life of Véronique

      Indigo Bailey
      January 2023
    • After Structural Film: The Conceptual films of Morgan Fisher

      Arindam Sen
      January 2023
    • This Body Keeps the Score: the films of Saidin Salkic

      Dirk de Bruyn
      January 2023
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      Amanda Barbour
      January 2023
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      Maria Giovanna Vagenas
      March 2023
    • Splice Here A Projected Odyssey: An Interview with Rob Murphy

      Tara Judah
      January 2023
    • Piaffe: Interview with Ann Oren

      Maria Giovanna Vagenas
      January 2023
    • Flesh Memories: Yeo Siew Hua’s Expanded Cinema in The Once and Future

      Toby Wu
      January 2023
    • Slow Fireworks: The Films of Amy Halpern

      Arindam Sen
      January 2023
    • About Time: Interview with Cyril Schäublin

      Hamed Sarrafi
      January 2023
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      Amanda Barbour
      March 2008
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      Sherry Johnson
      January 2023
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      Giampiero Frasca
      January 2023
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      Jeremy Carr
      October 2022
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      Hal Young
      October 2022
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      Sara Delshad
      October 2022
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      Sanya Osha
      May 2022
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      Amanda Barbour
      January 2022
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      Jacob Agius
      October 2022
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      Joy McEntee
      May 2022
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      Wheeler Winston Dixon
      May 2022
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      Jeremy Carr
      May 2022
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      Mark Lager
      May 2022
  • Festival Reports
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    • Looking Forward and Looking Back: The 20th Jeonju International Film Festival

      Amanda Barbour
      July 2019
      Festival Reports
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    • Fire Within: The 60th Viennale

      Leonardo Goi
      January 2023
    • The Kids Aren’t Alright: The 27th Busan International Film Festival

      Marc Raymond
      January 2023
    • A Report on the Exhibition Threshold (works by Dirk de Bruyn, Guy Grabowsky & Mat Hughes)

      Glenn D'Cruz
      January 2023
    • Politics, Isolation, Pandemic: The 35th Tokyo International Film Festival

      Kohei Usuda
      January 2023
    • All the Pain and Exploitation: 66th London Film Festival

      Tara Judah
      January 2023
    • BABY, THE RAIN MUST FALL … on the Claude Sautet retrospective at the 70th San Sebastian International Film Festival

      Neil Young
      January 2023
  • Book Reviews
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    • Alfred Hitchcock book reviews

      Two More Books on Hitchcock: Hitchcock Lost and Found: The Forgotten Films by Alain Kerzoncuf and Charles Barr, and Must We Kill the Thing We Love? Emersonian Perfectionism and the Films of Alfred Hitchcock by William Rothman

      Amanda Barbour
      September 2015
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    • For a Double-Edged Theory: Christian Metz’ Essais sur la signification au cinéma at 50

      Abel Muñoz Hénonin
      January 2023
    • Dennis Lim’s Tale of Cinema: A Meta-Monograph

      Marc Raymond
      January 2023
    • In search of a Global Filipino Auteur: Sine ni Lav Diaz, edited by Parichay Patra and Micheal Kho Lim

      Pujita Guha
      January 2023
    • Philosophy for the Blockbuster Audience: Christopher Nolan: Filmmaker and Philosopher, by Robbie B. H. Goh

      Tom Boniface-Webb
      October 2022
    • Do we need Digital Tarkovsky?

      Corey P. Cribb
      October 2022
    • Trafic at 30, End of a Film Journal

      Emmanuel Bonin
      July 2022
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    • Safety Last!

      Safety Last! (Fred Newmeyer, Sam Taylor, 1923)

      Amanda Barbour
      March 2017
      CTEQ Annotations on Film
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    • Days (Tsai Ming-liang, 2020)

      Jacob Agius
      May 2023
    • Afflictions of Pain and Desire: The River (Tsai Ming-liang, 1997)

      Alex Williams
      May 2023
    • The Wayward Cloud (Tsai Ming-liang, 2005)

      Amelia Leonard
      May 2023
    • Goodbye, Dragon Inn (Tsai Ming-liang, 2003)

      Andrew Le
      May 2023
    • The Skywalk is Gone (Tsai Ming-liang, 2002)

      Digby Houghton
      May 2023
    • What Time is it There? (Tsai Ming-liang, 2001)

      Jessica Balanzategui
      May 2023
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Author Amanda Barbour

Amanda Barbour

Amanda Barbour is an award winning film critic, managing editor at Senses of Cinema and media advisor to Senator Lidia Thorpe, the first Indigenous Senator for Victoria in federal parliament.

Polish Animators PiS Off Law and Justice Party

Amanda Barbour
November 2020
News
50 students and graduates from the animation department at Lodz Film School have mobilized their medium to protest Poland’s Constitutional Court ruling that forces people with uteruses to carry pregnancies to f...

StopTrik from Head to Toe and the Eisenstein International Network

Amanda Barbour
January 2020
Festival Reports
The 9th edition of StopTrik and the inaugural conference of the Eisenstein International Network (EIN) took place, borderline consecutively, in October 2019. StopTrik is a Polish/Slovenian stop motion film fest...

Tricky Women/Tricky Realities and the Body Politic

Amanda Barbour
July 2019
Festival Reports
Vienna is pretty much a combination of The Lord of the Rings and a mental asylum. Tolkienian because of its baroque architecture and contained lunacy due to Stadtpark’s affection for institutional design envelo...

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.

Senses of Cinema was founded on stolen lands. We acknowledge the sovereignty of the Wurundjeri and Boon Wurrung people of the Kulin nation and support all Aboriginal people on their paths to self-determination.

 

© Senses of Cinema 2019

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César Albarrán-Torres • Amanda Barbour • Tara Judah • Abel Muñoz-Hénonin • Fiona Villella

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