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    • Eisenstein as Curator

      Damon Smith
      July 2020
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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
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      Damon Smith
      January 2023
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      Marco Abel
      August 2023
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      Maria Giovanna Vagenas
      August 2023
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      C.S. Harper
      August 2023
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      Hamed Sarrafi
      August 2023
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      Maria Giovanna Vagenas
      May 2023
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      Brigitta Wagner
      May 2023
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      Damon Smith
      February 2007
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      Jeremy Carr
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      Benjamin Kooyman
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      Sherry Johnson
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      Giampiero Frasca
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      Jeremy Carr
      October 2022
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      Hal Young
      October 2022
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      Damon Smith
      May 2023
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      Jacob Agius
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      Damon Smith
      July 2004
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      Marc Raymond
      August 2023
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      Fedor Tot
      August 2023
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      Arindam Sen
      August 2023
    • Rising from the ashes: The 47th Hong Kong International Film Festival

      Maja Korbecka
      August 2023
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      Peter Virginas
      August 2023
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      Will DiGravio
      August 2023
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      Two or Three Things I Know About Her: Violent Women in Contemporary Cinema, by Janice Loreck

      Damon Smith
      December 2016
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    • The Rebellious and the Rigorous: The Red Years of Cahiers du cinéma (1968-1973), by Daniel Fairfax

      Tony McKibbin
      August 2023
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      Emmanuel Bonin
      August 2023
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      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
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      Marc Raymond
      January 2023
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      Damon Smith
      April 2023
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    • 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 Damon Smith

Damon Smith

Damon Smith is a New York–based freelance writer and regular contributor to The Boston Globe. His articles have appeared in Time Out New York, Bright Lights Film Journal, The Boston Phoenix and elsewhere.

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The Low-Key Jester: An Interview with Andrew Bujalski

Damon Smith
May 2007
Feature Articles
One of the best US Independent filmmakers to emerge in recent years, the director of the critically acclaimed Funny Ha Ha and Mutual Appreciation discusses his work at length.
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Cinema in a State of Conflict: An Interview with Amos Gitaï

Damon Smith
February 2007
Cinema Engagé
The fabled Israeli filmmaker speaks at length about his cinema, the tortured history and politics of the Middle East, his interest in landscape, architecture, and the stories of people caught within and between State-imposed geo-political boundaries.
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L’Intrus: An Interview with Claire Denis

Damon Smith
April 2005
Conversations with Filmmakers
Acclaimed filmmaker Claire Denis discusses her new feature and the evolving æsthetics of her art.

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 • Amanda Barbour • Tara Judah • Abel Muñoz-Hénonin • Fiona Villella

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