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      For the Love of Experimental Cinema: Interview with Christian Lebrat

      Katherine Balsley
      August 2007
      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
    • Values of Baz Luhrmann’s Elvis: A Carnival Ride

      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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    • Encounter at the Editing Table – The Film Archive as a Memory of One's Own Existence

      Katherine Balsley
      July 2019
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    • Afterwater: A Conversation with Dane Komljen

      Maria Giovanna Vagenas
      March 2023
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      Tara Judah
      January 2023
    • Piaffe: Interview with Ann Oren

      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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      Katherine Balsley
      November 2006
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      Sherry Johnson
      January 2023
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      Giampiero Frasca
      January 2023
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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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      Katherine Balsley
      May 2022
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      Jacob Agius
      October 2022
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      Joy McEntee
      May 2022
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      Wheeler Winston Dixon
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      Mark Lager
      May 2022
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      Jessica Balanzategui
      January 2022
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    • Transforming Landscapes and Programmatic Shifts: The 24th Image Forum Festival

      Katherine Balsley
      July 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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      Kung Fu Cult Masters – From Bruce Lee To Crouching Tiger by Leon Hunt

      Katherine Balsley
      December 2003
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    • For a Double-Edged Theory: Christian Metz’ Essais sur la signification au cinéma at 50

      Abel Muñoz Hénonin
      January 2023
    • Dennis Lim’s Tale of Cinema: A Meta-Monograph

      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
    • Trafic at 30, End of a Film Journal

      Emmanuel Bonin
      July 2022
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    • Magnolia: A Savage Attack on Masculinity and Whiteness

      Katherine Balsley
      February 2015
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    • Pickpocket (Robert Bresson, 1959)

      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 Katherine Balsley

Katherine Balsley

Katherine Balsley graduated with a BFA in Film from the University of Wisconsin-Milwaukee in 2003, and earned an MFA in Mass Communication and Media Arts from Southern Illinois University-Carbondale in 2009. Her films and videos have been exhibited across the United States and abroad, including the Athens International Film and Video Festival, the Black Maria Film Festival, the Reel Earth Environmental Film Festival in New Zealand and the Jecheon International Film and Music Festival in South Korea. Currently, she is an assistant professor of film at Georgia Gwinnett College near Atlanta.

Subjectivity, Spectatorship and Social Change: The Act of Documenting: Documentary Film in the 21st Century, by Brian Winston, Gail Vanstone and Wang Chi

Katherine Balsley
June 2018
Book Reviews
In the fall of 2017, I was approached by a colleague at the public liberal arts college where I teach film studies and production. My colleague, a political science professor, wanted to know if I would like to ...
essay films

Defining the Cinematic Essay: The Essay Film by Elizabeth A. Papazian & Caroline Eades, and Essays on the Essay Film by Nora M. Alter & Timothy Corrigan

Katherine Balsley
December 2017
Book Reviews
  From 2011 until 2015, I taught a course entitled “Documentary Production” at a small liberal arts college north of Chicago. Rather than basing the class entirely on production techniques, I included aspects ...
World Cinema

Understanding Genre in a Globalized World: World Cinema through Global Genres, by William V. Costanzo

Katherine Balsley
December 2015
Book Reviews
William V. Costanzo’s World Cinema through Global Genres is comprehensive and truly enjoyable. At 431 pages it never becomes dull or opaque, and instead provides clear, detailed investigations of world genres a...

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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