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    • Alain Robbe-Grillet and the Nouveau Roman: An Interview

      Danica van de Velde
      October 2014
      Feature Articles
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    • The Experimental Propagandist: Frank Capra and the Shape of Truth

      Richard Sowada
      January 2022
    • Heil Darling: a story of lips that haven’t laughed

      Pablo Gonçalo
      January 2022
    • The Night Shift: Woman as Outlaw Hero in The Man I Love

      Rob Nixon
      January 2022
    • Smooth Digital Reveries: On Proto-Vaporwave and The Flying Luna Clipper

      Dechlan Cochran
      January 2022
    • Promising Young Woman and the cinematic renegotiation of gender in rape-revenge

      Joy McEntee
      January 2022
    • Streaming paracinema: Charles Band, Full Moon Features and auteurism on third tier SVOD services

      Andrew Lynch and Alexa Scarlata
      January 2022
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      Danica van de Velde
      January 2021
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      Maja Korbecka
      January 2022
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      Stuart Richards
      January 2022
    • “The cinema remains alive when it is diverse”: Interview with Jean-Gabriel Périot

      Daniel Fairfax
      January 2022
    • Do you feel lonely standing here? A conversation with Na Jiazuo

      Łukasz Mańkowski
      January 2022
    • A Joyride through Technological Change: Interview with David Cox

      Dirk de Bruyn
      January 2022
    • Sunken Film: Bill Morrison Talks The Village Detective: a song cycle

      Andrew Northrop
      July 2021
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      Danica van de Velde
      July 2004
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      Jeremy Carr
      January 2022
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      Tom Cunliffe
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      Charles Fairbanks
      January 2022
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      Dan Golding
      July 2021
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      Jeremy Carr
      July 2021
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      Hal Young
      May 2021
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      The Surreal Feel: Luis Buñuel

      Danica van de Velde
      July 2000
      Festival Reports
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      Maria Giovanna Vagenas
      February 2022
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      Kohei Usuda
      February 2022
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      Leonardo Goi
      January 2022
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      Carmen Gray
      January 2022
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      Bérénice Reynaud
      January 2022
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      Amelia Leonard and Jacob Agius
      January 2022
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      Josh Hartnett Definitely Wants to Do This…: True Stories from a Life in the Screen Trade by Bruce Beresford

      Danica van de Velde
      March 2008
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    • 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
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      Joy McEntee
      May 2021
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      Ambiance for the Ambient: The Grateful Dead

      Danica van de Velde
      April 2004
      CTEQ Annotations on Film
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    • Fritz Lang’s Spione (1928)

      Shari Kizirian
      May 2022
    • An entertainment: Fritz Lang’s Ministry of Fear (1944)

      Andréas Giannopoulos
      May 2022
    • Out of the Shadows: Cloak and Dagger (Fritz Lang, 1946)

      Ian Olney
      May 2022
    • “A pin for me ’at”: Fritz Lang’s Man Hunt (1941)

      Adrian Danks
      May 2022
    • Fritz Lang in America: While the City Sleeps (1956)

      Wheeler Winston Dixon
      May 2022
    • M (Fritz Lang, 1931)

      Digby Houghton
      May 2022
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Author Danica van de Velde

Danica van de Velde

Danica van de Velde is a writer based in Perth, Western Australia. Her writing on film has been published in a Dance Mag, Another Gaze and Screen Education, as well as the Refocus book collections on Michel Gondry and Susanne Bier. She was the recipient of the Senses of Cinema-Monash Essay Prize in 2019 for her essay on the cinematic self-adaptations of Marguerite Duras.

“She smelled of Tokyo”: Sensory connections in The Masseurs and a Woman (1938)

Danica van de Velde
April 2021
CTEQ Annotations on Film
A prolific filmmaker who reportedly directed over 150 films between 1924 and 1959, Hiroshi Shimizu has arguably received only a fraction of the critical and popular attention lavished upon his contemporaries. S...

Between Dreams and Death: Jean Cocteau’s Orpheus (1950)

Danica van de Velde
July 2020
CTEQ Annotations on Film
In Greek mythology, Orpheus is a talented musician who travels to the underworld to bring back his dead wife, Eurydice. Upon entering the realm of the undead, the mournful music that Orpheus sings and plucks fr...

Behind the Veil: The Nun (Jacques Rivette, 1966)

Danica van de Velde
January 2020
CTEQ Annotations on Film
In a 1968 interview with Cahiers du cinéma, former Cahiers editor-in-chief and filmmaker Jacques Rivette made the provocative comment that “the cinema is necessarily fascination and rape, that is how it acts on...

“Judge Tenderly of Me!”: Terence Davies’ Letter to Emily Dickinson in A Quiet Passion (2016)

Danica van de Velde
October 2019
CTEQ Annotations on Film
Terence Davies’ Emily Dickinson biopic A Quiet Passion (2016) opens with Miss Lyon (Sara Vertongen), the headmistress of Mount Holyoke Female Seminary, grimly reciting the options available to the seminary’s st...

Erosion by Desire: Marguerite Duras’ Self-Adaptations (Issue 88, October 2018)

Danica van de Velde
October 2019
Highlights from 20 years of Senses of Cinema
Originally published in Senses of Cinema issue 88, October 2018. Towards the end of Marguerite Duras’ 1969 film Détruire dit-elle (Destroy, She Said) – adapted from her novel of the same name published earli...

Close to You: Elaine May’s The Heartbreak Kid (1972)

Danica van de Velde
July 2019
CTEQ Annotations on Film
Elaine May opens her second feature film, The Heartbreak Kid (1972), by compressing the full cycle of courtship into three minutes. From the film’s smarmy protagonist, Lenny (Charles Grodin), rehearsing his sed...

Tender Restraint: Tokyo Twilight (Yasujirō Ozu, 1957)

Danica van de Velde
March 2019
CTEQ Annotations on Film
A man’s hat left forgotten on a wall hook in a laneway izakaya; a bottle of whisky lit by lamplight on a desk piled with mountains of books; a plume of steam rising from the spout of a metal teapot; the consist...

Fractured Images and Tainted Dreams: Sergio Leone’s Once upon a Time in America

Danica van de Velde
February 2019
CTEQ Annotations on Film
Towards the end of Sergio Leone’s opening sequence in Once upon a Time in America (1984), the film’s protagonist, David “Noodles” Aaronson (Robert De Niro), flees to a bus station where he buys a one-way ticket...

Erosion by Desire: Marguerite Duras’ Self-Adaptations

Danica van de Velde
October 2018
The Second Generation: French Cinema After the New Wave
Towards the end of Marguerite Duras’ 1969 film Détruire dit-elle (Destroy, She Said) – adapted from her novel of the same name published earlier that year – a conversation between two of the characters takes on...

Death Rides a Horse (Giulio Petroni, 1967)

Danica van de Velde
June 2018
CTEQ Annotations on Film
Met with an overwhelming number of lukewarm reviews upon its original cinematic release, and consistently relegated to little more than a footnote in the history of the spaghetti western genre, Giulio Petroni’s...

“From the first bottle to the first kiss”: François Truffaut’s Small Change (1976)

Danica van de Velde
March 2018
CTEQ Annotations on Film
Arguably one of the most enduring images in the cinema of François Truffaut is the freeze frame that concludes his first feature-length film, Les quatre cents coups (The 400 Blows, 1959). Following an escape fr...
Still Life

An Archaeology of the Filmic Essay: Untangling Harun Farocki’s Still Life (1997)

Danica van de Velde
September 2016
CTEQ Annotations on Film
From the opening moments of Harun Farocki’s Stilleben (Still Life, 1997), the viewer is charged with not merely unconsciously accepting what is placed in their line of vision, but actively interrogating each im...

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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© Senses of Cinema 2019

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César Albarrán-Torres • Amanda Barbour • Tara Judah • Abel Muñoz-Hénonin • Fiona Villella

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