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    • The Appearance of Appearance: Absolute Truth in Abbas Kiarostami’s ABC Africa

      Lorraine Mortimer
      July 2013
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    • Bigger than life, or stranger: Pedro Costa’s Vitalina Varela: Part II

      Thomas Austin
      May 2022
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      Emmalea Russo
      May 2022
    • Cringing Violently: Reparative Watching, Phenomenology and Discomfort in Australian Cinema

      Caitlin Wilson
      May 2022
    • 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
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    • The Creative Leap to Fluid Consciousness: An Encounter with Ashley McKenzie

      Lorraine Mortimer
      May 2022
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      Savina Petkova
      May 2022
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      Silvia Spitta & Gerd Gemünden
      May 2022
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      Victor Paz
      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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      Nolan Kelly
      May 2022
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      Elizabeth Dexter
      May 2022
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      Lorraine Mortimer
      October 2018
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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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      Lorraine Mortimer
      May 2022
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      Joy McEntee
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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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      Lorraine Mortimer
      February 2018
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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
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      Ricardo Vieira Lisboa
      May 2022
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      Belle de Jour (BFI Film Classics, London, 2001), by Michael Wood

      Lorraine Mortimer
      March 2002
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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 Richard Barrios

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

      Megan Carrigy
      July 2021
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      L'Argent

      Lorraine Mortimer
      June 2000
      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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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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