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      On the Street where You Live: The Films of John Smith

      Dan Sallitt
      December 2003
      Feature Articles
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    • 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
    • Values of Baz Luhrmann’s Elvis: A Carnival Ride

      Laleen Jayamanne
      January 2023
    • Fellini’s Memory: Amarcord

      Bruce Jackson
      January 2023
    • More than Mimicry: On Puppets and Interdependency in Annette and The Double Life of Véronique

      Indigo Bailey
      January 2023
    • After Structural Film: The Conceptual films of Morgan Fisher

      Arindam Sen
      January 2023
    • This Body Keeps the Score: the films of Saidin Salkic

      Dirk de Bruyn
      January 2023
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    • Interview with Albert Birney & Kentucker Audley

      Dan Sallitt
      May 2022
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    • Splice Here A Projected Odyssey: An Interview with Rob Murphy

      Tara Judah
      January 2023
    • Piaffe: Interview with Ann Oren

      Maria Giovanna Vagenas
      January 2023
    • Flesh Memories: Yeo Siew Hua’s Expanded Cinema in The Once and Future

      Toby Wu
      January 2023
    • In Search of Lost Time: An Interview with Christophe Honoré

      David A. Gerstner
      January 2023
    • Slow Fireworks: The Films of Amy Halpern

      Arindam Sen
      January 2023
    • About Time: Interview with Cyril Schäublin

      Hamed Sarrafi
      January 2023
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    • Rainer, Yvonne

      Dan Sallitt
      July 2003
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      Sherry Johnson
      January 2023
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      Giampiero Frasca
      January 2023
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      Jeremy Carr
      October 2022
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      Hal Young
      October 2022
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      Sara Delshad
      October 2022
    • Smith, Jack: Travails of an Underground Artist

      Sanya Osha
      May 2022
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      Dan Sallitt
      May 2022
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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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      Mark Lager
      May 2022
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      Jessica Balanzategui
      January 2022
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    • Searches for Identity: German Films at the 61st Berlin International Film Festival

      Dan Sallitt
      March 2011
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    • Fire Within: The 60th Viennale

      Leonardo Goi
      January 2023
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      Kohei Usuda
      January 2023
    • The Kids Aren’t Alright: The 27th Busan International Film Festival

      Marc Raymond
      January 2023
    • A Report on the Exhibition Threshold (works by Dirk de Bruyn, Guy Grabowsky & Mat Hughes)

      Glenn D'Cruz
      January 2023
    • All the Pain and Exploitation: 66th London Film Festival

      Tara Judah
      January 2023
    • BABY, THE RAIN MUST FALL … on the Claude Sautet retrospective at the 70th San Sebastian International Film Festival

      Neil Young
      January 2023
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    • Figure of Light: On Persistence of Vision: The 21st-Century Film Criticism of Stanley Kauffmann by Bert Cardullo (ed.)

      Dan Sallitt
      September 2015
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    • 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
    • In search of a Global Filipino Auteur: Sine ni Lav Diaz, edited by Parichay Patra and Micheal Kho Lim

      Pujita Guha
      January 2023
    • Philosophy for the Blockbuster Audience: Christopher Nolan: Filmmaker and Philosopher, by Robbie B. H. Goh

      Tom Boniface-Webb
      October 2022
    • Do we need Digital Tarkovsky?

      Corey P. Cribb
      October 2022
    • Trafic at 30, End of a Film Journal

      Emmanuel Bonin
      July 2022
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    • The Art of Memory: Terence Davies' Distant Voices, Still Lives

      Dan Sallitt
      September 2001
      CTEQ Annotations on Film
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    • I Remember: Amarcord (Federico Fellini, 1973)

      Jacob Agius
      February 2023
    • The Lure (Agnieszka Smoczyńska, 2015)

      Faith Everard
      December 2022
    • Othering Heights: The Queerest of the Queer in Rosa von Praunheim’s City of Lost Souls (1983)

      Cerise Howard
      December 2022
    • To walk away, you gotta leave something behind, or a long story short: Hedwig and the Angry Inch (2001)

      Cerise Howard
      December 2022
    • Lost Paradise: F.W. Murnau’s Tabu: A Story of the South Seas (1931)

      Andréas Giannopoulos
      November 2022
    • Nosferatu: Eine Symphonie des Grauens (Nosferatu: A Symphony of Horror, F.W. Murnau, 1922)

      Martyn Bamber
      November 2022
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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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