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  • Dossiers
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    • Rediscovering Morality Through Ashgar Farhadi’s A Separation

      Dan Sallitt
      December 2011
      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
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      Laleen Jayamanne
      August 2023
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      Dan Sallitt
      July 2020
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      Gary M. Kramer
      November 2023
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      Mike Hoolboom
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      Amanda Barbour
      November 2023
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      Amanda Barbour
      November 2023
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      Öykü Sofuoğlu
      November 2023
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      Jaimey Fisher & Gerd Gemünden
      November 2023
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      Dan Sallitt
      August 2008
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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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      Giampiero Frasca
      January 2023
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      Sherry Johnson
      January 2023
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      Dan Sallitt
      May 2022
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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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      Wheeler Winston Dixon
      May 2022
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      Jeremy Carr
      May 2022
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      The 20th Vancouver International Film Festival - A Report

      Dan Sallitt
      November 2001
      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
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    • Baz Luhrmann by Pam Cook

      Dan Sallitt
      October 2011
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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
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    • Night Of The Hunter

      The Man in Black: The Night of the Hunter (1955)

      Dan Sallitt
      March 2017
      CTEQ Annotations on Film
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    • 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 Dan Sallitt

Dan Sallitt

Dan Sallitt is an American critic and filmmaker.

Cinephilia and Technology

Dan Sallitt
May 2021
What Will Become of Cinema? Postcards for the Future
When I first fell in love with the cinema at age 17, I was primarily interested in classic Hollywood films, and my main sources of access were independent television networks that filled the gaps in their sched...

Too Big to Fail: The 34th Toronto International Film Festival

Dan Sallitt
December 2009
Festival Reports
Firmly established as the pre-eminent film event in North America, the Toronto International Film Festival (TIFF) seems less compromised than comfortable. Rumours of a few years ago that TIFF was cutting back o...
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The Responsibilities of Power: The 32nd Toronto International Film Festival

Dan Sallitt
November 2007
Festival Reports
6-15 September 2007 Each year, the Toronto International Film Festival (TIFF) seems a little grander, more populated, more aware of its world-class status. Good planning and the Herculean effort of an ar...
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Towards World Domination: The 30th Toronto International Film Festival

Dan Sallitt
February 2006
Festival Reports
September 8–17, 2005 Returning to the Toronto Film Festival after missing last year’s event, I noticed that the enterprise had moved a few more notches toward world domination. North American filmgoers c...
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My Own Private Toronto: The 2003 Toronto Film Festival

Dan Sallitt
December 2003
Festival Reports
The gap between the public face of the Toronto Film Festival and the experience of festival-goers continues to widen. Improbably enough, mild-mannered Toronto has come to signify movie stars and red carpets...

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.

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