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    • Welcome to This House Elizabeth Bishop documentary

      Being Elizabeth Bishop: Barbara Hammer’s New Documentary on an American Poet

      Felicity Collins
      September 2015
      Feature Articles
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    • The Experimental Propagandist: Frank Capra and the Shape of Truth

      Richard Sowada
      January 2022
    • Heil Darling: a story of lips that haven’t laughed

      Pablo Gonçalo
      January 2022
    • The Night Shift: Woman as Outlaw Hero in The Man I Love

      Rob Nixon
      January 2022
    • Smooth Digital Reveries: On Proto-Vaporwave and The Flying Luna Clipper

      Dechlan Cochran
      January 2022
    • Promising Young Woman and the cinematic renegotiation of gender in rape-revenge

      Joy McEntee
      January 2022
    • Streaming paracinema: Charles Band, Full Moon Features and auteurism on third tier SVOD services

      Andrew Lynch and Alexa Scarlata
      January 2022
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    • Ecofeminism With Marwa Arsanios

      Felicity Collins
      May 2021
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    • Pom Bunsermvicha interview: “Being part of a family“

      Maja Korbecka
      January 2022
    • Leaning into the Challenge: Interview with Scattered co-creators Logan Mucha and Kate Darrigan

      Stuart Richards
      January 2022
    • “The cinema remains alive when it is diverse”: Interview with Jean-Gabriel Périot

      Daniel Fairfax
      January 2022
    • Do you feel lonely standing here? A conversation with Na Jiazuo

      Łukasz Mańkowski
      January 2022
    • A Joyride through Technological Change: Interview with David Cox

      Dirk de Bruyn
      January 2022
    • Sunken Film: Bill Morrison Talks The Village Detective: a song cycle

      Andrew Northrop
      July 2021
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      Felicity Collins
      February 2007
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      Jeremy Carr
      January 2022
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      Tom Cunliffe
      January 2022
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      Charles Fairbanks
      January 2022
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      Dan Golding
      July 2021
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      Jeremy Carr
      July 2021
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      Hal Young
      May 2021
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      Restoration: A Personal Festival Highlight

      Felicity Collins
      June 2000
      Festival Reports
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    • Thessaloniki International Film Festival: Rewriting the Rules of the Game

      Maria Giovanna Vagenas
      February 2022
    • The Pivot to Asia: The 34th Tokyo International Film Festival

      Kohei Usuda
      February 2022
    • Come Together: The 59th Viennale

      Leonardo Goi
      January 2022
    • From White Clouds, Wild Delights: The 18th Golden Apricot Yerevan International Film Festival

      Carmen Gray
      January 2022
    • AFI FEST-AFM: The Perils of Online

      Bérénice Reynaud
      January 2022
    • Looking for Love at HitchCon 2021

      Amelia Leonard and Jacob Agius
      January 2022
  • Book Reviews
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    • “Still an object to be discovered”: The Lumière Galaxy by Francesco Casetti

      Felicity Collins
      March 2015
      Book Reviews
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    • 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 John Barrios

      Adrian Schober
      July 2021
    • Foraging in a Transforming Mediascape: Cinemas Dark and Slow in Digital India, by Lalitha Gopalan

      Megan Carrigy
      July 2021
    • Time Machines: After Kubrick: A Filmmaker’s Legacy, edited by Jeremi Szaniawski

      Joy McEntee
      May 2021
  • CTEQ
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    • The Canary Murder Case (Malcolm St. Clair & Frank Tuttle, 1929)

      Felicity Collins
      October 2019
      CTEQ Annotations on Film
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    • 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
    • Fritz Lang’s Spione (1928)

      Shari Kizirian
      May 2022
    • An entertainment: Fritz Lang’s Ministry of Fear (1944)

      Andréas Giannopoulos
      May 2022
    • Out of the Shadows: Cloak and Dagger (Fritz Lang, 1946)

      Ian Olney
      May 2022
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Author Felicity Collins

Felicity Collins

Felicity Collins is Adjunct Associate Professor, Creative Arts and English, La Trobe University.

Breathing Under Water: a film by Susan Murphy Dermody

Felicity Collins
July 2021
Australian Autofiction
A chook enters the frame. A black cat evades the lens. An animated panther won’t be denied. In 2021, these are the figures that lurk on the outskirts of conscious thought in the days after I eject Ronin’s DVD o...

Native Peoples, Global Films: the Maoriland Film Festival

Felicity Collins
June 2014
Festival Reports
In the Maoriland Film Festival program notes, the mihi or welcome dedicated the inaugural festival to the memory of Aunty Borgia, a formidable figure in the local Maori community who appeared onscreen in one of...

Rachel Perkins: Creating Change Through Blackfella Films

Felicity Collins
December 2013
Contemporary Australian Filmmakers
Since her traineeship with the Central Australian Aboriginal Media Association in 1988, Rachel Perkins has become an iconic figure of Australian Indigenous film and television. This article examines Perkins’ us...
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The Hedonistic Modernity of Sydney in They’re a Weird Mob

Felicity Collins
July 2006
Sydney on Film
Michael Powell’s 1966 satire on Australian life-style made extensive use of Sydney locations. Collins discusses a range of cultural discourses that frame conceptions of the city, both real and imaginary.
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Japanese Story: A Shift of Heart

Felicity Collins
December 2003
Australian Contemporary Cinema
This recent, multi-award winning Australian film marks a quantum leap for the Oz landscape genre film and hints at a shift in national consciousness.
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Dreaming in Motion: Five Films from Five New Filmmakers

Felicity Collins
July 2003
Australian Film Culture
Following on from Shifting Sands: From Sand to Celluloid is Dreaming in Motion, a new series of indigenous shorts. Collins takes a closer look at their thematic and formal qualities.
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Brazen Brides, Grotesque Daughters, Treacherous Mothers: Women’s Funny Business in Australian cinema from Sweetie to Holy Smoke

Felicity Collins
December 2002
Feature Articles
Contemporary Australian women filmmakers rework the romantic comedy genre to incorporate women and their experiences.
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Heaven’s Burning

Felicity Collins
September 2000
Contemporary Australian Cinema
Redefining the outback and the Oz road movie: Felicity Collins untangles what implicates her to this film.

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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