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      Before Sunrise, or Los Angeles Plays Itself In a Lonely Place

      Anton Bitel
      October 2004
      Feature Articles
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    • Film Criticism and the Grotesque: A Very American Tár & an Oz Elvis

      Laleen Jayamanne
      August 2023
    • The aesthetics and politics of melodrama, reconsidered: Delitto d’amore / Crime of Love

      Thomas Austin
      August 2023
    • Horse-People and White Voices: Neoliberalism and Race in Sorry to Bother You

      Thomas Austin
      May 2023
    • The Exorcism of Sinister Ghosts: Saralisa Volm’s The Silent Forest

      Peter Verstraten
      May 2023
    • Spectatorial Labour: The Political Vision of Sergei Loznitsa’s Documentaries

      Santasil Mallik
      May 2023
    • 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
  • Interviews
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    • Surviving You, Always: An Interview with Director Morgan Quaintance

      Anton Bitel
      May 2021
      Interviews
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    • “Can You Prefigure Reality?”: A Conversation with Christoph Hochhäusler on his new film, Bis ans Ende der Nacht (Till the End of the Night)

      Marco Abel
      August 2023
    • The Klezmer Project (Adentro Mío Estoy Bailanado): A Conversation with Leandro Koch and Paloma Schachmann

      Maria Giovanna Vagenas
      August 2023
    • Chunky Shrapnel: A Conversation with John Angus Stewart

      C.S. Harper
      August 2023
    • A Cinematic Sojourn to the Land of Awe and Astonishment: Interview with Laura Citarella about El Pampero Cine and Trenque Lauquen

      Hamed Sarrafi
      August 2023
    • Here: An Interview with Bas Devos

      Maria Giovanna Vagenas
      May 2023
    • A Different Kind of Love Story: An Interview with Dustin Guy Defa

      Brigitta Wagner
      May 2023
  • Great Directors
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    • Sturges, Preston

      Anton Bitel
      July 2004
      Great Directors
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    • Thompson, J. Lee

      Jeremy Carr
      May 2023
    • Beresford, Bruce

      Benjamin Kooyman
      May 2023
    • Fosse, Bob

      Sherry Johnson
      January 2023
    • Cimino, Michael

      Giampiero Frasca
      January 2023
    • Sorrentino, Paolo

      Jeremy Carr
      October 2022
    • Craven, Wes

      Hal Young
      October 2022
  • Great Actors
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    • Lansbury, Angela

      Anton Bitel
      May 2022
      Great Actors
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    • Stanwyck, Barbara

      Eloise Ross
      August 2023
    • Bogart, Humphrey

      Wheeler Winston Dixon
      May 2023
    • Divine

      Jacob Agius
      October 2022
    • Caine, Michael

      Wheeler Winston Dixon
      May 2022
    • Garbo, Greta

      Jeremy Carr
      May 2022
    • Magee, Patrick

      Mark Lager
      May 2022
  • Festival Reports
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    • #Youmustsee: The 2018 Adelaide International Film Festival

      Anton Bitel
      December 2018
      Festival Reports
    Recent
    • Towards A Domestic Cinephilia: The 24th Jeonju International Film Festival

      Marc Raymond
      August 2023
    • Direct Cinephilia: Play-Doc 2023

      Fedor Tot
      August 2023
    • Stardust chronicle, a report from the 69th Internationale Kurzfilmtage Oberhausen

      Arindam Sen
      August 2023
    • Rising from the ashes: The 47th Hong Kong International Film Festival

      Maja Korbecka
      August 2023
    • The 22nd Transilvania International Film Festival: Open-world Stimulations

      Peter Virginas
      August 2023
    • Prismatic Ground 2023: Labour Seen

      Will DiGravio
      August 2023
  • Book Reviews
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    • Road Trip Through A Cinematically-Constructed America: The Imaginary Geography of Hollywood Cinema, 1960-2000 by Christian B. Long

      Anton Bitel
      June 2018
      Book Reviews
    Recent
    • The Rebellious and the Rigorous: The Red Years of Cahiers du cinéma (1968-1973), by Daniel Fairfax

      Tony McKibbin
      August 2023
    • A Journey through Serge Daney’s Cinema House

      Emmanuel Bonin
      August 2023
    • Bloody, Raging Females: Five Books Examine Contemporary Feminist Horror Films

      Holly Willis
      May 2023
    • Cinematic Bottom-Feeding: Why It’s OK to Love Bad Movies, by Matthew Strohl

      Sam Woolfe
      May 2023
    • 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
  • CTEQ
    Random
    • Il Posto (Ermanno Olmi, 1961)

      Anton Bitel
      October 2019
      CTEQ Annotations on Film
    Recent
    • Czechoslovakia’s King and Queen of Comedy: Anny Ondra and Vlasta Burian in An Old Gangster’s Molls (Svatopluk Innermann, 1927)

      Shari Kizirian
      September 2023
    • It’s About Time We All Met a Happy End (Oldřich Lipský, 1967)

      Cerise Howard
      September 2023
    • Heave Ho! (Martin Frič, 1934)

      Faith Everard
      September 2023
    • Tomorrow I’ll Wake Up and Scald Myself with Tea (Jindřich Polák, 1977)

      Danica van de Velde
      September 2023
    • The Woman Suffers: “South Australia’s greatest film production” (Raymond Longford, 1918)

      Stephen Gaunson
      September 2023
    • The Sentimental Bloke (Raymond Longford, 1919)

      Darragh O’Donoghue
      September 2023
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Author Anton Bitel

Anton Bitel

Anton Bitel lances free all over the place, blogs at ProjectedFigures.com and is still coming of age.

Rites of Passage, Fluidity and Metamorphoses: The Imagery of Education in Lucile Hadžihalilović’s Innocence, Evolution and Earwig

Anton Bitel
August 2022
The Natural Models of Lucile Hadžihalilović
Coming of age is often conceptualised in religious terms as a rite of passage and an initiation into adulthood, - and so Lucile Hadžihalilović's films figure themselves as ritualised mysteries, with children at...

Gender Divide in Diptych: Peter Strickland’s Berberian Sound Studio and The Duke of Burgundy

Anton Bitel
July 2019
The Analogues of Peter Strickland
The Berberian Sound Studio – a labyrinthine post-production complex in 1970s Italy to which all the events of Berberian Sound Studio are restricted – is a male world, and Peter Strickland's film traces the conf...
Gender Cattet and Forzani

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

Anton Bitel
June 2018
Split/Screen Cattet/Forzani
The strange cinematic experiments of Hélène Cattet and Bruno Forzani grow over the graves of departed genres. Their shorts and their first two features are loving pastiches of giallo, that lurid Italian detecti...
Hélène Cattet and Bruno Forzani interview

Fragments of Hélène Cattet and Bruno Forzani

Anton Bitel
June 2018
Split/Screen Cattet/Forzani
On 22 February 2018, Hélène Cattet and Bruno Forzani's Let the Corpses Tan was screened at Ciné Lumière in London's Institut Français Royaume-Uni, with the writer/directors in attendance. The following fragment...
The Dark Märchen Show!! (2009)

Alice in the Underworld: The Dark Märchen Show!! (Mari Terashima, 2009)

Anton Bitel
March 2018
Alice in Wonderland
In Alice's Adventures in Wonderland (1865) and Through the Looking-Glass, and What Alice Found There (1871), young Alice goes on a wide-eyed odyssey through the psychic flotsam and jetsam of nineteenth-century ...
Six Men Getting Sick

Six Men Getting Sick (David Lynch, 1967)

Anton Bitel
March 2017
Love Letters: 1967
(H)e(r)metic Art Ad Nauseam: David Lynch's Six Men Getting Sick (1967)  Part of our makeup as social animals is that certain of our activities, when visualised, tend to create a mirror effect in the viewer. Se...

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