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      Max Ophuls: A New Art – But Who Notices?

      David A. Gerstner
      October 2002
      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
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      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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    • Do you feel lonely standing here? A conversation with Na Jiazuo

      David A. Gerstner
      January 2022
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      Tara Judah
      January 2023
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      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
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      Hamed Sarrafi
      January 2023
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      David A. Gerstner
      October 2002
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      Sherry Johnson
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      Giampiero Frasca
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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
      May 2022
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      David A. Gerstner
      January 2022
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      Jacob Agius
      October 2022
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      May 2022
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      Jeremy Carr
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      Mark Lager
      May 2022
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    • Branding Representations: What Dokufest Has To Say About Reinventing Tradition: The 9th International Documentary and Short Film Festival (Dokufest)

      David A. Gerstner
      October 2010
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      Leonardo Goi
      January 2023
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      Kohei Usuda
      January 2023
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      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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    • McCarthyism’s Hollywood Year: Show Trial: Hollywood, HUAC, and the Birth of the Blacklist, by Thomas Doherty

      David A. Gerstner
      December 2018
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    • For a Double-Edged Theory: Christian Metz’ Essais sur la signification au cinéma at 50

      Abel Muñoz Hénonin
      January 2023
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      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
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      Corey P. Cribb
      October 2022
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      Emmanuel Bonin
      July 2022
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      Where Dreams Go to Die: Scarlet Street

      David A. Gerstner
      August 2008
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      Emma Fajgenbaum
      March 2023
    • 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
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Author David A. Gerstner

David A. Gerstner

David A. Gerstner is Professor of Cinema Studies in the Department of Media Culture at the City University of New York. His most recent book is Queer Imaginings: On Writing and Cinematic Friendship (Wayne State University Press). He recently completed a short film, Between Men, A Historical Fantasy.

In Search of Lost Time: An Interview with Christophe Honoré

David A. Gerstner
January 2023
Interviews
“It is not enough for a painter like Cézanne, an artist, or a philosopher, to create or express an idea,” writes Maurice Merleau-Ponty. The artist and philosopher, he continues, “must also awaken the experience...

Penetrating Epstein: Jean Epstein: Critical Essays and New Translations by Sarah Keller and Jason N. Paul (eds.), and Une vie pour le cinéma: Jean Epstein by Joël Daire

David A. Gerstner
March 2015
Book Reviews
        The Jean Epstein renaissance currently underway has yielded two significant books from both sides of the Atlantic: French historian Joël Daire’s Une vie pour le cinéma: Jean Epstein and the antholo...

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.

 

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

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