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  • Dossiers
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    • Poverty and Women’s Sacrifices in Stella Dallas (1937) and Wendy and Lucy (2008)

      Claudia Sicondolfo
      July 2019
      Feature Articles
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    • Deleuzian Rumblings: Residue by Desire Machine Collective

      Vedant Srinivas
      May 2022
    • Acts of Faith: On Benedetta (Paul Verhoeven, 2021)

      Peter Verstraten
      May 2022
    • Fire Machines: Titane and the Pyrotechnics of Love

      Emmalea Russo
      May 2022
    • ‘Is The Power of the Dog a New Zealand film? National Identity, Genre and Jane Campion’

      Alfio Leotta & Missy Molloy
      May 2022
    • Play-Doc 2022: António Campos, a secret filmmaker

      Ricardo Vieira Lisbo
      May 2022
    • Cringing Violently: Reparative Watching, Phenomenology and Discomfort in Australian Cinema

      Caitlin Wilson
      May 2022
  • Interviews
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    • Dreamscapes and Masquerades: A Conversation with Abba Makama

      Claudia Sicondolfo
      October 2019
      Interviews
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    • ‘I Was Taunting the Western’: An Interview with Alejandra Márquez Abella

      Silvia Spitta & Gerd Gemünden
      May 2022
    • “The Act of Filming is an Inner and Physical Journey in Itself”: Interview with Helke Misselwitz

      Victor Paz
      May 2022
    • An Interview with Danny Lyon

      Anonymous
      May 2022
    • The Creative Leap to Fluid Consciousness: An Encounter with Ashley McKenzie

      Brigitta Wagner
      May 2022
    • Interview with Albert Birney & Kentucker Audley

      Nolan Kelly
      May 2022
    • Information as a music video, comedy as a diagram: Beny Wagner & Sasha Litvintseva in conversation

      Madeleine Collier
      May 2022
  • Great Directors
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    • Epstein, Jean

      Claudia Sicondolfo
      December 2010
      Great Directors
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    • Smith, Jack: Travails of an Underground Artist

      Sanya Osha
      May 2022
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      Darragh O’Donoghue
      May 2022
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      Jeremy Carr
      January 2022
    • Lau, Kar-leung

      Tom Cunliffe
      January 2022
    • Tahimik, Kidlat 

      Charles Fairbanks
      January 2022
    • Lucas, George

      Dan Golding
      July 2021
  • Great Actors
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    • Cage, Nicolas

      Claudia Sicondolfo
      January 2022
      Great Actors
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    • Lansbury, Angela

      Joy McEntee
      May 2022
    • Magee, Patrick

      Mark Lager
      May 2022
    • Caine, Michael

      Wheeler Winston Dixon
      May 2022
    • Garbo, Greta

      Jeremy Carr
      May 2022
  • Festival Reports
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      American Nightmare: The Baying of Pigs: Reflections on the New American Horror Movie

      Claudia Sicondolfo
      July 2001
      Festival Reports
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    • Day by Day: IFFR 2022

      Madeleine Collier
      May 2022
    • Stuck in traffic: IFFR 2022

      Tara Judah
      May 2022
    • Absence and Presence at Internationale Kurzfilmtage Oberhausen. 68.

      Tara Judah
      May 2022
    • From Within the Umbra of History: A Few Things about the Films of Rainer Komers, Sohrab Hura and Sylvia Schedelbauer

      Anuj Malhotra
      May 2022
    • Film Goes On (?): The 23rd Jeonju International Film Festival

      Marc Raymond
      May 2022
    • Rings of Saturn, Gardens of Empire: The 2022 Punto de Vista International Documentary Film Festival of Navarra

      Jay Kuehner
      May 2022
  • Book Reviews
    Random
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      Belle de Jour (BFI Film Classics, London, 2001), by Michael Wood

      Claudia Sicondolfo
      March 2002
      Book Reviews
    Recent
    • How to Do Things with Camera Movement: The Lure of the Image: Epistemic Fantasies of the Moving Camera, by Daniel Morgan

      Kyle Barrowman
      May 2022
    • 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
  • CTEQ
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    • His Enchanted Gaze: The Tree of Wooden Clogs (Ermanno Olmi, 1978)

      Claudia Sicondolfo
      October 2019
      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 Claudia Sicondolfo

Claudia Sicondolfo

Claudia Sicondolfo is a Vanier Scholar and doctoral candidate at York University, in the Graduate Department in Film, in Toronto, Canada.

Serial Rep-Cinema and Community Cinema-Going

Claudia Sicondolfo
October 2019
This is what defined cinema in the 2010s
The September 2019 Senses of Cinema Dossier asks contributors to identify one central feature that has shaped and influenced cinema over the last decade. For my contribution, I did what I always do when I attem...

Archived Passions, Censored Bodies: Passiflora and the Regulation of Sexuality at the NFB

Jonathan Petrychyn and Claudia Sicondolfo
March 2019
Feature Articles
“With the near simultaneous appearance in Montreal in the summer of 1984 of Michael Jackson and Pope John Paul II, something of a definitive note for a media and celebrity-stricken era was struck. Abstract and...

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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