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  • Dossiers
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    • The Crew: Antonioni’s Australian film that was not to be

      Dag Sødtholt
      March 2015
      Feature Articles
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    • A Face in the Crowd: Ritual, Mythological and Political contexts in Stranger and the Fog

      Amir Hossein Siadat
      November 2023
    • Consensus Empire: Empowering the Spectator through Letterboxd Reviews

      Tyler Thier
      November 2023
    • We Can’t Save The Victims: Hauntology in Tony Scott’s Déjà Vu

      Aryan Tauqeer Khawaja
      November 2023
    • Situating Lucile Hadžihalilović’s Good Boys Use Condoms

      Oliver Kenny
      November 2023
    • Songs of Joy and Melancholy: On My Darling in Stirling

      Frankie Kanatas
      November 2023
    • Film Criticism and the Grotesque: A Very American Tár & an Oz Elvis

      Laleen Jayamanne
      August 2023
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    • A Different Kind of Love Story: An Interview with Dustin Guy Defa

      Dag Sødtholt
      May 2023
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    • An Interview with Delphine Girard

      Gary M. Kramer
      November 2023
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      Mike Hoolboom
      November 2023
    • Mapping Global Horror: Academic roundtable

      Amanda Barbour
      November 2023
    • Mapping Global Horror: Filmmaker roundtable

      Amanda Barbour
      November 2023
    • Our Body is a Battleground: An Interview with Claire Simon

      Öykü Sofuoğlu
      November 2023
    • “Irritation Is the Most Important Tool Any Artist Has”: An Interview with Jessica Hausner

      Jaimey Fisher & Gerd Gemünden
      November 2023
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      Dag Sødtholt
      September 2015
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      Deborah Allison
      November 2023
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      Jeremy Carr
      November 2023
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      Jeremy Carr
      May 2023
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      Benjamin Kooyman
      May 2023
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      Sherry Johnson
      January 2023
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      Giampiero Frasca
      January 2023
  • Great Actors
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      Dag Sødtholt
      May 2022
      Great Actors
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      Gabrielle Stecher
      November 2023
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      Eloise Ross
      August 2023
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      Wheeler Winston Dixon
      May 2023
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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
  • Festival Reports
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      Where Life is a Film: The 12th Sarajevo Film Festival

      Dag Sødtholt
      February 2007
      Festival Reports
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    • In Search of Indie’s Soul: Chinese Independent Cinema Today and Beyond

      Xiang Fan
      November 2023
    • Amiko haunts the 23rd Nippon Connection

      Roger Macy
      November 2023
    • Notes From The 26th San Francisco Silent Film Festival

      Jonathan Mackris
      November 2023
    • Magnetizing and still Putting on Weight – the 37th Il Cinema Ritrovato

      Roger Macy
      November 2023
    • Dealing with the past, and present, at the 29th Sarajevo Film Festival

      Randy Malamud
      November 2023
    • 76th Locarno Film Festival: Culture on the Edge, Tumbling Into Futures Unknown

      Jaimey Fisher
      November 2023
  • Book Reviews
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    • Beyond Thumbs Up or Down: Aesthetic Evaluation and Film, by Andrew Klevan

      Dag Sødtholt
      December 2018
      Book Reviews
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    • Facing the Other: Keyvan Manafi’s The Eye of the Cinematograph: Levinas and Realisms of the Body

      M. Sellers Johnson
      November 2023
    • A Man of Genius Has Been Seldom Ruined But By Himself: Ethan Warren’s The Cinema of Paul Thomas Anderson

      Hannah Bonner
      November 2023
    • 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
  • CTEQ
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    • The Beast

      The Nature of The Beast Remains... Irrepressible!

      Dag Sødtholt
      May 2016
      CTEQ Annotations on Film
    Recent
    • Western

      Martyn Bamber
      December 2023
    • History and Oblivion: Radu Jude tells a “new” story an old way with Aferim!

      Shari Kizirian
      December 2023
    • Silver City

      Grace Boschetti
      November 2023
    • The Golden Cage: Ayten Kuyululu and Australian Cinema

      Adrian Danks
      November 2023
    • Twice a Man

      Darragh O’Donoghue
      November 2023
    • A Rainha Diaba

      Mateus Nagime
      November 2023
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Author Dag Sødtholt

Dag Sødtholt

Dag Sødtholt is a Norwegian film critic specialising in East Asian cinema, from Mizoguchi to Hou Hsiao-hsien.

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The Complexity of Minimalism: Hou Hsiao-hsien’s Three Times

Dag Sødtholt
May 2006
Special Dossiers, Spotlight on Hou Hsiao-hsien
Arguably, after a period of transition represented by Millennium Mambo and Café Lumière, Hou’s Three Times may represent a new plateau in his work.
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Sound of the Mountain: The Beauty of Pessimism

Dag Sødtholt
November 2001
CTEQ Annotations on Film
Sound of the Mountain (1954 Japan 94mins) 35mm Source: Heritage Prod Co: Toho Dir: Mikio Naruse Scr: Yoko Mizuki from the novel by Yasunari Kawabata Phot: Masao Tamai Art Dir: Satoshi Chuko Mus: Ichiro S...

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.

 

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César Albarrán-Torres • Tara Judah • Abel Muñoz-Hénonin • Fiona Villella • Nace Zavrl

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