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    • Tab Hunter

      “I Love Vulnerability”: An Interview with Tab Hunter

      Daniel Fairfax
      December 2017
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    • Respecting the Lives of Others: Bergman Island, Hommage and Anaïs in Love

      Anthony McKibbin
      August 2022
    • Protestploitation ’70: Revisiting Zabriskie Point and Strawberry Statement

      Selen Ozturk
      July 2022
    • More than a Wink: The Nature of Reality in Blow-Up and Las Babas del Diablo

      Will Hair
      July 2022
    • Suicide and Genius: Insights into One Episode of Akira Kurosawa’s Dreams

      Matthew Michaud & Justin Richardson
      July 2022
    • Interrogating Identity: The Fractal Self in Le petit soldat

      Michael James Beck
      July 2022
    • Bigger than life, or stranger: Pedro Costa’s Vitalina Varela: Part III

      Thomas Austin
      July 2022
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    • “It’s Good to Lose Control”: An Interview with Valeska Grisebach

      Daniel Fairfax
      March 2019
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      Maja Korbecka
      July 2022
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      Maria Giovanna Vagenas
      July 2022
    • Human is only human when vulnerable: An Interview With Michel Franco

      Savina Petkova
      May 2022
    • ‘I Was Taunting the Western’: An Interview with Alejandra Márquez Abella

      Silvia Spitta & Gerd Gemünden
      May 2022
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      Victor Paz
      May 2022
    • Information as a music video, comedy as a diagram: Beny Wagner & Sasha Litvintseva in conversation

      Madeleine Collier
      May 2022
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      Daniel Fairfax
      April 2004
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      Sanya Osha
      May 2022
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      Darragh O’Donoghue
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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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      Daniel Fairfax
      May 2022
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      Wheeler Winston Dixon
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      Jeremy Carr
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      Mark Lager
      May 2022
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      Jessica Balanzategui
      January 2022
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      World and Experimental Cinema at the 47th London Film Festival

      Daniel Fairfax
      February 2004
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      Bérénice Reynaud
      August 2022
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      Cerise Howard
      August 2022
    • Normality: The 2022 Cannes Film Festival

      Daniel Fairfax
      August 2022
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      Roger Macy
      July 2022
    • Keeping the Fires Burning: A Week at the San Francisco Silent Film Festival

      Jonathan Mackris
      July 2022
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      Judith Pernin
      July 2022
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      Cinema of Interruptions: Action Genres in Contemporary Indian Cinema by Lalitha Gopalan

      Daniel Fairfax
      October 2003
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    • 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
    • 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 Richard Barrios

      Adrian Schober
      July 2021
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    • Sicilia!

      Sicilia! (Jean-Marie Straub and Danièle Huillet, 1999)

      Daniel Fairfax
      September 2017
      CTEQ Annotations on Film
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    • Shadows of Forgotten Ancestors (Sergei Parajanov, 1965)

      Wheeler Winston Dixon
      July 2022
    • Shockproof (Douglas Sirk, 1949): The Insanity of Romantic Desire

      Wheeler Winston Dixon
      May 2022
    • The Grotesque Loves of Jealousy, Italian Style (Ettore Scola, 1970)

      Tiia Kelly
      May 2022
    • A Geography of Fractured Desire: Michelangelo Antonioni’s L’eclisse (1962)

      Danica van de Velde
      May 2022
    • Il Deserto Rosso (Red Desert, Michelangelo Antonioni, 1964)

      Boyd van Hoeij
      May 2022
    • ‘You Can’t Make an Omelette…’ – Modesty Blaise (Joseph Losey, 1966) and the Art of Breaking Eggs

      David Melville
      May 2022
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Author Daniel Fairfax

Daniel Fairfax

Daniel Fairfax is assistant professor in Film Studies at the Goethe Universität-Frankfurt, and an editor of Senses of Cinema.

Normality: The 2022 Cannes Film Festival

Daniel Fairfax
August 2022
Festival Reports
“Back to normal” was undoubtedly the prevailing ethos of this year’s Cannes film festival. This was to be expected after the cancellation of the festival in 2020, with even the powers-that-be at Cannes having t...

Man of Cinema: Jean-Louis Comolli (July 30, 1941–May 19, 2022)

Daniel Fairfax
July 2022
Obituary
Critic, film theorist and filmmaker, Jean-Louis Comolli died in his adoptive home city of Paris on May 19, 2022, at the age of 80. An editor of Cahiers du Cinéma from 1965 to 1973, his international reputation ...

Forms That Think: The Work of Jean-Luc Godard (Introduction)

Daniel Fairfax
January 2022
Forms That Think: Jean-Luc Godard
On June 9, 1971, Jean-Luc Godard suffered from a sickening traffic accident, with the motorcycle that he used to zip around Paris colliding with a van. He was immediately taken to an intensive care unit, and wi...

“The cinema remains alive when it is diverse”: Interview with Jean-Gabriel Périot

Daniel Fairfax
January 2022
Interviews
Having gained attention on the film festival circuit with his essayistic found-footage retelling of the history of West Germany’s Rote Armee Fraktion (RAF) in Une jeunesse allemande (A German Youth, 2015, the F...

New Relations Between Forms: Luttes en Italie

Daniel Fairfax
January 2022
Forms That Think: Jean-Luc Godard
1.  Of all the phases of Godard’s now seven-decade career in the cinema, it is his period of avowedly militantly filmmaking from 1968 to 1972, made when he explicitly identified as a Maoist and subsumed his au...

Brave New World: the 2021 Cannes Film Festival

Daniel Fairfax
August 2021
Festival Reports
How does it feel to return to the cinema? I asked myself this question as my plane taxied on the runway at Nice airport one fine July morning, the shimmering waters of the Mediterranean to my right, the hilly l...

Trade Follows the Film: Cinema and the Wealth of Nations: Media, Capital, and the Liberal World System by Lee Grieveson

Daniel Fairfax
October 2020
Book Reviews
Few recent books in film and media studies can match the ambition Lee Grieveson set himself with Cinema and the Wealth of Nations: Media, Capital, and the Liberal World System, and even fewer have delivered in ...

The Shining and Us – Participants to the Dossier Reflect on Their First Encounter with Stanley Kubrick’s The Shining

Marta Figlerowicz, Alexander Nemerov, Joy McEntee, Christine Lee Gengaro, Geoffrey Cocks, Ian Christopher, Mick Broderick, Jessica Balanzategui, Nathan Abrams, Valerio Sbravatti, Ilaria Franciotti, Rick Warner, Jeremi Szaniawski, Pip Chodorov, Daniel Fairfax and Filippo Ulivieri
July 2020
The Shining at 40

Founding Father: A Tribute to Thomas Elsaesser (1943–2019)

Daniel Fairfax
July 2020
Obituary
Thomas Elsaesser, a truly titanic figure in film studies, passed away unexpectedly at the age of 76 on December 4, 2019, while on a teaching assignment in Beijing. His death casts a long shadow over the field. ...

A Stranger in the Hotel: Jean-Pierre Oudart and The Shining

Daniel Fairfax
July 2020
The Shining at 40
Stanley Kubrick’s The Shining (1980) has gained notoriety not only for the sheer quantity of critical analysis it has produced, a voluminous outpouring of exegesis from scholars, critics and fans alike that sho...

The Last Film Festival: the 2020 Berlinale

Daniel Fairfax
April 2020
Festival Reports
I must confess, loyal reader, that there can occasionally be something of a lag between the end of a film festival that I am covering and the moment when I finally transform my scattered thoughts into a legible...

Autumn in a Small Town: The 3rd Pingyao International Film Festival

Daniel Fairfax
January 2020
Festival Reports
It has become a truism, now, to speak of the global proliferation of film festivals in the last few decades. Worldwide, they presently number in the thousands, across all the continents, taking place at all tim...

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

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