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      Ideology and Reality: Society and Vsevolod Pudovkin’s Mother

      Jon Jost
      July 2006
      Feature Articles
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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
  • Interviews
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    • ‘I Was Taunting the Western’: An Interview with Alejandra Márquez Abella

      Jon Jost
      May 2022
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    • “Resistance is the driving force of the film”: An Interview with Davy Chou

      Maja Korbecka
      July 2022
    • The Plains: Conversation with David Easteal

      Maria Giovanna Vagenas
      July 2022
    • Human is only human when vulnerable: An Interview With Michel Franco

      Savina Petkova
      May 2022
    • “The Act of Filming is an Inner and Physical Journey in Itself”: Interview with Helke Misselwitz

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

      Madeleine Collier
      May 2022
    • The Creative Leap to Fluid Consciousness: An Encounter with Ashley McKenzie

      Brigitta Wagner
      May 2022
  • Great Directors
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    • Lau, Kar-leung

      Jon Jost
      January 2022
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    • Smith, Jack: Travails of an Underground Artist

      Sanya Osha
      May 2022
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      Darragh O’Donoghue
      May 2022
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      Jeremy Carr
      January 2022
    • Tahimik, Kidlat 

      Charles Fairbanks
      January 2022
    • Lucas, George

      Dan Golding
      July 2021
    • Riefenstahl, Leni

      Jeremy Carr
      July 2021
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    • Cage, Nicolas

      Jon Jost
      January 2022
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      Joy McEntee
      May 2022
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      Wheeler Winston Dixon
      May 2022
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      Jeremy Carr
      May 2022
    • Magee, Patrick

      Mark Lager
      May 2022
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      Shadows on the Pier: The 48th Thessaloniki Film Festival

      Jon Jost
      April 2008
      Festival Reports
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    • Sundance Film Festival 2022

      Bérénice Reynaud
      August 2022
    • Is this the real life? Is this just fantasy? The 56th Karlovy Vary International Film Festival

      Cerise Howard
      August 2022
    • Normality: The 2022 Cannes Film Festival

      Daniel Fairfax
      August 2022
    • 36th Cinema Ritrovato Gets Covid in the Tail

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

      Jonathan Mackris
      July 2022
    • New Territories and Old Dreams of Independence – Chinese and Hong Kong documentaries at the Taiwan International Documentary Festival

      Judith Pernin
      July 2022
  • Book Reviews
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    • Engaged Vision: Critical Mass: Social Documentary in France from the Silent Era to the New Wave, by Steven Ungar

      Jon Jost
      July 2020
      Book Reviews
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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
  • CTEQ
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    • The Red and The White film review

      The Red and The White (1967): The Political and Metaphysical Sequence Shot

      Jon Jost
      September 2015
      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 Jon Jost

Jon Jost

Jon Jost, a former filmmaker, has been fully engaged in digital media since 1996.

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Some Notes on “Political Cinema” Prompted by Seeing Raoul Peck’s Sometimes in April in Competition at the Berlin Film Festival

Jon Jost
April 2005
On Recent Films
A personal reflection written in the heat of the moment soon after the film's screening at the recent Berlin Film Festival.
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End Game: Some thoughts provoked by recent exhibitions, and Godard’s Éloge de l’amour

Jon Jost
January 2003
Feature Articles
Considering the work of three artists, Jost reflects thoughtfully and personally on the course of a 'creative' life and the idea of change, growth and vitality for an artist.
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Leighton Pierce: Master Miniaturist

Jon Jost
May 2002
Feature Articles
With keen perception, Jost explores Pierce's cinema and places it high as the work of a great artist.

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.

 

© Senses of Cinema 2019

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

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