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  • Features
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      Before Sunrise, or Los Angeles Plays Itself In a Lonely Place

      Danica van de Velde
      October 2004
      Feature Articles
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    • Criminals Against Decoration: Modernism as a Heist

      Andy Reischling
      October 2020
    • The New-Ark: trying to disavow anti-blackness

      Andrew Brooks
      October 2020
    • Claustrophobia and Intimacy in Alex Ross Perry’s Queen of Earth and Her Smell

      Zoë Almeida Goodall
      October 2020
    • Wanda (Barbara Loden,1971)

      What’s in a Cone? Barbara Loden’s Wanda Between Weakness and Resilience

      Luise Moerke
      October 2020
    • Come and See The Painted Bird: A Filmmaker’s Plea

      Salvador Carrasco
      October 2020
    • Thresholds of Work and Non-Work in Tulapop Saenjaroen’s People on Sunday

      Steffanie Ling
      October 2020
  • Festival Reports
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      Why Women Rule: The 34th Telluride Film Festival

      Danica van de Velde
      March 2008
      Festival Reports
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    • The 34th Cinema Ritrovato Has Full Resuscitation under COVID

      Roger Macy
      October 2020
    • Women at the 2020 Toronto International Film Festival

      Alexandra Heller-Nicholas
      October 2020
    • Lest We Forget: the 31st FID Marseille

      Leonardo Goi
      October 2020
    • A Vitalising Cinema in an Agitated Age: The 58th New York Film Festival

      Jake Pitre
      October 2020
    • Locarno 2020: The Open Doors Experience

      Maria Giovanna Vagenas
      October 2020
    • Your Daughters Come Back to You: The 28th Pan African Film and Arts Festival

      Bérénice Reynaud
      July 2020
  • Book Reviews
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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
      Book Reviews
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    • Trade Follows the Film: Cinema and the Wealth of Nations: Media, Capital, and the Liberal World System by Lee Grieveson

      Daniel Fairfax
      October 2020
    • War, Community, and the Cinema: Front Lines of Community: Hollywood Between War and Democracy by Hermann Kappelhof and Five Came Back: A Story of Hollywood and the Second World War by Mark Harris

      Joshua Sperling
      October 2020
    • The Perfect Conditional: Philippe Garrel by Michael Leonard

      Tony McKibbin
      October 2020
    • Creating the Appearance of Being: The Art of American Screen Acting 1960 to Today, by Dan Callahan

      Tony McKibbin
      July 2020
    • The Restless Spectator: Anxious Cinephilia: Pleasure and Peril at the Movies, by Sarah Keller

      Joshua Heaps
      July 2020
    • Engaged Vision: Critical Mass: Social Documentary in France from the Silent Era to the New Wave, by Steven Ungar

      Ivan Cerecina
      July 2020
  • CTEQ
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    • Destiny

      Destiny (Fritz Lang, 1921)

      Danica van de Velde
      June 2018
      CTEQ Annotations on Film
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    • Stairways to Paradise: Youssef Chahine and Alexandria…Why?

      David Melville
      October 2020
    • At Home Among Strangers (Свой среди чужих, чужой среди своих, Nikita Mikhalkov, 1974)

      Darragh O’Donoghue
      October 2020
    • German Yearnings, East and West: The Sons of Great Bear (Josef Mach, 1966)

      Donovan Renn
      October 2020
    • Waiting for Rain: Oppression and Resistance in Youssef Chahine’s The Land (1970)

      David Heslin
      October 2020
    • Of East and West and High and Low: Lemonade Joe (1964)

      Cerise Howard
      October 2020
    • A Man from the Boulevard des Capucines (Chelovek s bulvara Kaputsinov, Alla Surikova, 1987)

      Martyn Bamber
      October 2020
  • Great Directors
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    • Scorsese, Martin

      Danica van de Velde
      May 2002
      Great Directors
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    • Scott, Tony

      Jeremy Carr
      October 2020
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      Brendan Black
      October 2020
    • Wise, Robert

      Adrian Schober
      April 2020
    • Fernández, Emilio “Indio”

      Abel Muñoz Hénonin
      April 2020
    • Fei Mu

      Jasper Mäkinen
      October 2019
    • Huston, John

      Bruce Jackson
      July 2019
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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 work has most recently been published in Representing 9/11: Trauma, Ideology, and Nationalism in Literature, Film and Television (Rowman & Littlefield, 2015) and Home: Concepts, Constructions, Contexts (WVT, 2016).

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...

Founded 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 2019

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Editors:

Michelle Carey • Daniel Fairfax • Fiona Villella • César Albarrán-Torres

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