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    • Correspondence

      Lorraine Mortimer
      December 2009
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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
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      Laleen Jayamanne
      January 2023
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      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
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      Dirk de Bruyn
      January 2023
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      Lorraine Mortimer
      May 2022
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      Tara Judah
      January 2023
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      Toby Wu
      January 2023
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      Arindam Sen
      January 2023
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      Hamed Sarrafi
      January 2023
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      David A. Gerstner
      January 2023
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      Lorraine Mortimer
      May 2002
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      Giampiero Frasca
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      Jeremy Carr
      October 2022
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      Hal Young
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      Sara Delshad
      October 2022
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      Sanya Osha
      May 2022
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      Lorraine Mortimer
      May 2022
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      Jacob Agius
      October 2022
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      Mark Lager
      May 2022
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      Jessica Balanzategui
      January 2022
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      Transcendental Style in 2007: The 31st Hong Kong International Film Festival

      Lorraine Mortimer
      August 2007
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      Leonardo Goi
      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
    • Politics, Isolation, Pandemic: The 35th Tokyo International Film Festival

      Kohei Usuda
      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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      Public, Politics and Independent Documentaries in China: Independent Chinese Documentary: Alternative Visions, Alternative Publics, by Dan Edwards

      Lorraine Mortimer
      December 2016
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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
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      Emmanuel Bonin
      July 2022
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    • Reflection Without Interference: Édouard et Caroline and the Romantic Mundane

      Lorraine Mortimer
      November 2014
      CTEQ Annotations on Film
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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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more articles... more articles... more articles... more articles... more articles...

Author Lorraine Mortimer

Lorraine Mortimer

Lorraine Mortimer is an Associate with the Department of Anthropology at Sydney University. She is the translator of The Cinema, or The Imaginary Man: An Essay in Sociological Anthropology (Minneapolis: University of Minnesota Press, 2005), and author of Terror and Joy: The Films of Dušan Makavejev (Minneapolis: University of Minnesota Press, 2009), recently translated into Serbian as Teror i Radost: Filmovi Dušana Makavejeva (Belgrade: Clio & The Faculty of Dramatic Art, Belgrade, 2012).

John Flaus, a Man with Qualities

Lorraine Mortimer
October 2014
John Flaus Dossier
John Flaus Sydney Like anarchist and writer, Ursula Le Guin, and wily old pragmatist, Bertolt Brecht, we can rightly decry our need for heroes. I liked the way that someone introduced Noam Chomsky at an Anar...

Poetry in the Air: Mad Bastards and Toomelah

Lorraine Mortimer
March 2013
Feature Articles
I. Where the Crocodiles Are: Mad Bastards I am really proud of this movie most of all because it does justice to the tough men of The Kimberley who have transformed their lives by tempering their wildness, and...

Something Against Nature: Sweet Movie, 4, and Disgust

Lorraine Mortimer
June 2011
Feature Articles
The author brings together two seminal films from differing eras that challenge audiences in complex and confronting ways.

Introduction to Edgar Morin on Ava Gardner

Lorraine Mortimer
December 2010
Feature Articles
Long-time advocate of French sociologist Edgar Morin’s distinctive analytical poetics, translator Lorraine Mortimer’s introduction provides a context to Morin’s passion for cinema and his intellectual orientation generally.
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The World Tasted: Dušan Makavejev’s Sweet Movie

Lorraine Mortimer
May 2008
Feature Articles
The author of the forthcoming first English-language book devoted to the director, Terror and Joy: The Films of Dušan Makavejev, dissects this most sensuously complex 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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César Albarrán-Torres • Amanda Barbour • Tara Judah • Abel Muñoz-Hénonin • Fiona Villella

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