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      The Birth, Life, and Death of a Nation: A Portrait by Frederick Wiseman

      Danica van de Velde
      March 2002
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    • “A long time ago….”: The Persistence and Longevity of ‘Star Wars’ at 45

      Tara Lomax
      October 2022
    • The Larrikin Girl: Challenging archetypes in Australian cinema

      Mark Freeman & Eloise Ross
      October 2022
    • Unrealisable woman: Tania in Stanley Kubrick’s Aryan Papers

      Joy McEntee
      October 2022
    • Anatomy of a Breakup or Her Life to Fix: The Worst Person in the World

      Salvador Carrasco
      October 2022
    • Respecting the Lives of Others: Bergman Island, Hommage and Anaïs in Love

      Anthony McKibbin
      August 2022
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      Selen Ozturk
      July 2022
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      Danica van de Velde
      May 2022
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      Andrew Northrop
      October 2022
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      Maria Giovanna Vagenas
      October 2022
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      Maria Giovanna Vagenas
      July 2022
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      Maja Korbecka
      July 2022
    • Human is only human when vulnerable: An Interview With Michel Franco

      Savina Petkova
      May 2022
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      Victor Paz
      May 2022
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      Danica van de Velde
      February 2007
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      Jeremy Carr
      October 2022
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      Hal Young
      October 2022
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      Sara Delshad
      October 2022
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      Sanya Osha
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      Darragh O’Donoghue
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      Jeremy Carr
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      Danica van de Velde
      May 2022
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      Mark Lager
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      Jessica Balanzategui
      January 2022
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      Danica van de Velde
      January 2021
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      Levan Tskhovrebadze
      October 2022
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      Nolan Kelly
      October 2022
    • Budapest Classics Film Marathon

      Andrew Northrop
      October 2022
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      Susana Bessa
      October 2022
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      Jaimey Fisher
      October 2022
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      Eloise Ross
      October 2022
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      Re-framing the city: Slums on Screen: World Cinema and the Planet of Slums, by Igor Krstić

      Danica van de Velde
      March 2018
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    • Philosophy for the Blockbuster Audience: Christopher Nolan: Filmmaker and Philosopher, by Robbie B. H. Goh

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

      Emmanuel Bonin
      July 2022
    • How to Do Things with Camera Movement: The Lure of the Image: Epistemic Fantasies of the Moving Camera, by Daniel Morgan

      Kyle Barrowman
      May 2022
    • The Depths of Empiricism: Werner Herzog: Ecstatic Truth and Other Useless Conquests, by Kristoffer Hegnsvad

      Tony McKibbin
      January 2022
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      Elroy Rosenberg
      January 2022
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    • Il Posto (Ermanno Olmi, 1961)

      Danica van de Velde
      October 2019
      CTEQ Annotations on Film
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    • 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
    • Sunrise: A Song of Two Humans (F.W. Murnau, 1927)

      Jacob Agius
      October 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.

A Geography of Fractured Desire: Michelangelo Antonioni’s L’eclisse (1962)

Danica van de Velde
May 2022
CTEQ Annotations on Film
Michelangelo Antonioni’s L’eclisse (The Eclipse, 1962) opens rather enigmatically with the fatigued denouement of the relationship between the film’s central protagonist, Vittoria (Monica Vitti), and her former...

“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.

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.

 

© Senses of Cinema 2019

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Editors:

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

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