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    • “I have this special issue of Cahiers du cinéma in front of me”: Remembering Claudine Paquot (1951-2011)

      Eloise Ross
      October 2011
      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
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    • “An exceptional forum to defend freedom of expression”: The 64th Cannes Film Festival

      Eloise Ross
      June 2011
      Festival Reports
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    • Dreaming of the Mountains: The 9th Dharamshala International Film Festival

      Sucheta Chakraborty
      January 2021
    • Ghost Cities: The 58th Viennale

      Leonardo Goi
      January 2021
    • Queer and Australian Features at the 2020 Adelaide Film Festival

      Stuart Richards
      January 2021
    • Korean Cinema’s Self-Portrait: The 25th Busan International Film Festival

      Marc Raymond
      January 2021
    • Live Through This: The 2020 Adelaide Film Festival

      Saige Walton
      January 2021
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      Kohei Usuda
      January 2021
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    • Decentring France

      Ici et ailleurs: Decentring France by Gemma King

      Eloise Ross
      December 2017
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    • Revising a Concept: Cinema Expanded: Avant-Garde Film in the Age of Intermedia, by Jonathan Walley

      Holly Willis
      January 2021
    • When Everything Seemed Possible: London’s Arts Labs and the 60s Avant-Garde by David Curtis

      Wheeler Winston Dixon
      January 2021
    • “Memories Are Made of This”: Juliane Lorenz and Lothar Schirmer’s R.W. Fassbinder: Film Stills, 1966-1982

      Eric Gudas
      January 2021
    • Beneath the Tuxedo Elegance: Cary Grant: The Making of a Hollywood Legend, by Mark Glancy

      Tom Ryan
      January 2021
    • Anarchist Cinema: A Dream of Resistance: The Cinema of Kobayashi Masaki by Stephen Prince

      Karthick Ram Manoharan
      January 2021
    • Trade Follows the Film: Cinema and the Wealth of Nations: Media, Capital, and the Liberal World System by Lee Grieveson

      Daniel Fairfax
      October 2020
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      Revisionist Histories: Mizoguchi Kenji’s Shin Heike Monogatari

      Eloise Ross
      July 2005
      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
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    • Pelechian, Artavazd

      Eloise Ross
      March 2012
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      Jeremy Carr
      October 2020
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      Brendan Black
      October 2020
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      Adrian Schober
      April 2020
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      Abel Muñoz Hénonin
      April 2020
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      Jasper Mäkinen
      October 2019
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      Bruce Jackson
      July 2019
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Author Eloise Ross

Eloise Ross

Eloise Ross is Program Manager and President of the Melbourne Cinémathèque. She has a PhD in cinema studies from La Trobe University specialising on sound and embodiment, and writes and teaches about film.

Night of the Demon (Jacques Tourneur, 1957)

Eloise Ross
March 2019
CTEQ Annotations on Film
“Some of my best friends are ghosts,” says Dr. John Holden (Dana Andrews). He is being sarcastic (and Dana Andrews was one of the best serious men at reading a dry line); Holden, a “prominent psychologist” invi...

Ida Lupino’s Hard Noir: Private Hell 36 (Don Siegel, 1954)

Eloise Ross
October 2018
CTEQ Annotations on Film
In this grim, sexy film noir about corrupt male police officers, its lasting effect can be attributed to its lead woman, Ida Lupino. Yet the first woman on screen in Private Hell 36 (Don Siegel, 1954) is Doroth...

She knows, I feel: a lifelong windswept vortex in the Hebrides

Eloise Ross
June 2018
Stardust Memories: Cinephilia and Nostalgia
Dreams Father: “Have you ever been there?” Joan: “Often! In my dreams.” We’ve all been to places in our dreams. If they are positive dreams, with resonances that we yearn for, we might take a train, bus, and...

Eva (Joseph Losey, 1962)

Eloise Ross
March 2018
CTEQ Annotations on Film
“And the man and the woman were naked together, and were unashamed.” These words are spoken in voiceover as the camera slowly pans across Venetian waters and a frieze featuring Adam and Eve, their bodies almo...

Olivia (Jacqueline Audry, 1951)

Eloise Ross
March 2018
CTEQ Annotations on Film
Published pseudonymously in 1949 under the author name ‘Olivia’, Dorothy Bussy’s novel Olivia was likely written thanks to the influence of the 1931 German film Mädchen in Uniform (Girls in Uniform, Leontine Sa...
Pioneering Australian Women Filmmakers

Pioneering Australian Women Filmmakers: Introduction

Eloise Ross
July 2017
Pioneering Australian Women
“I just close my eyes and a sing, and I feel like I’m above the crowd.” - Jo Kennedy as Jackie Mullens, Starstruck (Gillian Armstrong, 1982) Made in 1982, Starstruck is the earliest feature film covered by t...
Jo Kennedy

High Spirits: Jo Kennedy in Starstruck (Gillian Armstrong, 1982) and Tender Hooks (Mary Callaghan, 1989)

Eloise Ross
July 2017
Pioneering Australian Women
Before Baz Luhrmann presented Sydney’s Coca Cola sign as a glittering icon and made it as famous as the city’s Harbour Bridge, other filmmakers had already recognised its symbolic potential: Mary Callaghan feat...
Budd Boetticher

“What the Hell’s a Nun Doin’ Out Here?”: Budd Boetticher Revised in Two Mules For Sister Sara (Don Siegel, 1970) 

Eloise Ross
June 2017
Revisiting Budd Boetticher
Directed by Don Siegel from a screenplay by Albert Maltz, it might seem odd that Two Mules For Sister Sara has a place in a Budd Boetticher dossier, given that he was not involved in production, nor seen on set...
The Case of the Missing Switchboard Operator

Love Affair or The Case of the Missing Switchboard Operator (Dušan Makavejev, 1967)

Eloise Ross
March 2017
CTEQ Annotations on Film
“I didn’t sign on to be your slave.” It’s the cry of every woman who has ever been born, and every country who has ever been created, annexed, oppressed. Hungarian woman Izabela Garodi (Eva Ras) speaks these wo...
Visit or Memories and Confessions

Visit or Memories and Confessions

Eloise Ross
September 2016
CTEQ Annotations on Film
Visita ou Memórias e Confissões is Manoel de Oliveira’s lasting cinematic elegy: a visit to a house filled with evidence of a life well lived, an exploration of memories that permeate through spaces and objects...
Whit Stillman interview

“There is Something Very Strange in Cinema”: An Interview with Whit Stillman

Eloise Ross
August 2016
Feature Articles
“Facts are such horrid things!” writes Mrs Alicia Johnson to Lady Susan Vernon in Jane Austen’s early novella, Lady Susan. In Whit Stillman’s film Love & Friendship (2016), adapted from Austen's posthumous...

Heaven Can Wait (Ernst Lubitsch, 1943)

Eloise Ross
January 2016
CTEQ Annotations on Film
“With your ingenuity it will be easy to make up a story.” So Martha Strable Van Cleve (Gene Tierney) writes in a telegram when quarrelling with her husband, Henry Van Cleve (Don Ameche). As maestro of the famed...

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© Senses of Cinema 2019

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

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