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    • Fire Machines: Titane and the Pyrotechnics of Love

      Kirsten Ostherr and Arash Abizadeh
      May 2022
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    • Deleuzian Rumblings: Residue by Desire Machine Collective

      Vedant Srinivas
      May 2022
    • Acts of Faith: On Benedetta (Paul Verhoeven, 2021)

      Peter Verstraten
      May 2022
    • ‘Is The Power of the Dog a New Zealand film? National Identity, Genre and Jane Campion’

      Alfio Leotta & Missy Molloy
      May 2022
    • Play-Doc 2022: António Campos, a secret filmmaker

      Ricardo Vieira Lisbo
      May 2022
    • Cringing Violently: Reparative Watching, Phenomenology and Discomfort in Australian Cinema

      Caitlin Wilson
      May 2022
    • Traumatising the floating space of desire: how hotel spaces locate the painful passion of dislocated lives in Luchino Visconti’s Obsession and Paolo Sorrentino’s

      Nashuyuan Wang
      May 2022
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      Kirsten Ostherr and Arash Abizadeh
      October 2020
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      Silvia Spitta & Gerd Gemünden
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      Victor Paz
      May 2022
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      Anonymous
      May 2022
    • The Creative Leap to Fluid Consciousness: An Encounter with Ashley McKenzie

      Brigitta Wagner
      May 2022
    • Interview with Albert Birney & Kentucker Audley

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

      Madeleine Collier
      May 2022
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      Kirsten Ostherr and Arash Abizadeh
      October 2003
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      Sanya Osha
      May 2022
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      Darragh O’Donoghue
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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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      Kirsten Ostherr and Arash Abizadeh
      May 2022
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      Joy McEntee
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      Wheeler Winston Dixon
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      Jeremy Carr
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      Jessica Balanzategui
      January 2022
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      For Love or Money? The 49th Melbourne International Film Festival Reviewed

      Kirsten Ostherr and Arash Abizadeh
      September 2000
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      Madeleine Collier
      May 2022
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      Tara Judah
      May 2022
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      Tara Judah
      May 2022
    • From Within the Umbra of History: A Few Things about the Films of Rainer Komers, Sohrab Hura and Sylvia Schedelbauer

      Anuj Malhotra
      May 2022
    • Film Goes On (?): The 23rd Jeonju International Film Festival

      Marc Raymond
      May 2022
    • Rings of Saturn, Gardens of Empire: The 2022 Punto de Vista International Documentary Film Festival of Navarra

      Jay Kuehner
      May 2022
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      Kirsten Ostherr and Arash Abizadeh
      October 2011
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    • 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 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
  • CTEQ
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      “You Press the Button, We Do the Rest”: Some Thoughts on Péter Forgács’ The Land of Nothing

      Kirsten Ostherr and Arash Abizadeh
      March 2008
      CTEQ Annotations on Film
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    • 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
    • Fritz Lang’s Spione (1928)

      Shari Kizirian
      May 2022
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Author Kirsten Ostherr

Kirsten Ostherr

Kirsten Ostherr is a postdoctoral fellow at Wesleyan University. Her teaching and research focuses on race, sexuality, cinema, and globalization.

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Amnesia, Obsession, Cinematic U-Turns: On Mulholland Drive

Kirsten Ostherr and Arash Abizadeh
March 2002
David Lynch and Mulholland Drive
When the pull of the femme fatale is total, emotional torment, psychological fragmentation and narrative incoherence must follow.

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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Editors:

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

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