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      From Auto-ethnography to Autobiography: Representations of the Past in Contemporary Chinese Cinema

      Mariam Razmadze
      November 2007
      Feature Articles
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      Thomas Austin
      May 2023
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      Peter Verstraten
      May 2023
    • Spectatorial Labour: The Political Vision of Sergei Loznitsa’s Documentaries

      Santasil Mallik
      May 2023
    • 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
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      Mariam Razmadze
      January 2022
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      Maria Giovanna Vagenas
      May 2023
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      Brigitta Wagner
      May 2023
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      Maja Korbecka
      May 2023
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      Purple Romero
      May 2023
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      Hamed Sarrafi
      May 2023
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      Silvia Spitta & Gerd Gemünden
      May 2023
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      Mariam Razmadze
      May 2003
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      Jeremy Carr
      May 2023
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      Benjamin Kooyman
      May 2023
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      Sherry Johnson
      January 2023
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      Giampiero Frasca
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      Jeremy Carr
      October 2022
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      Hal Young
      October 2022
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      Mariam Razmadze
      January 2022
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      Wheeler Winston Dixon
      May 2023
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      Jacob Agius
      October 2022
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      Joy McEntee
      May 2022
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      Jeremy Carr
      May 2022
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      Mark Lager
      May 2022
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      Midnight at MIFF? The 57th Melbourne International Film Festival 2008

      Mariam Razmadze
      February 2009
      Festival Reports
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      Sian Mitchell
      May 2023
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      Carmen Gray
      May 2023
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      Will DiGravio
      May 2023
    • Punto de Vista 2023: Dust No Longer Clouds Our Eyes

      Jay Kuehner
      May 2023
    • All the world’s a stage IFFR Critics’ Choice 9: PLAY

      Tara Judah
      May 2023
    • Sundance 2023 – Hybridity and Transgressive Heroes

      Bérénice Reynaud
      May 2023
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    • Twentieth Century Prodigal Son: Nicholas Ray – The Glorious Failure of an American Director by Patrick McGilligan

      Mariam Razmadze
      December 2011
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    • Bloody, Raging Females: Five Books Examine Contemporary Feminist Horror Films

      Holly Willis
      May 2023
    • Cinematic Bottom-Feeding: Why It’s OK to Love Bad Movies, by Matthew Strohl

      Sam Woolfe
      May 2023
    • 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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      Australia's Role in the Global Kung Fu Trend: The Man from Hong Kong

      Mariam Razmadze
      September 2001
      CTEQ Annotations on Film
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    • Days (Tsai Ming-liang, 2020)

      Jacob Agius
      May 2023
    • Afflictions of Pain and Desire: The River (Tsai Ming-liang, 1997)

      Alex Williams
      May 2023
    • The Wayward Cloud (Tsai Ming-liang, 2005)

      Amelia Leonard
      May 2023
    • Goodbye, Dragon Inn (Tsai Ming-liang, 2003)

      Andrew Le
      May 2023
    • The Skywalk is Gone (Tsai Ming-liang, 2002)

      Digby Houghton
      May 2023
    • What Time is it There? (Tsai Ming-liang, 2001)

      Jessica Balanzategui
      May 2023
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Author Mariam Razmadze

Mariam Razmadze

Mariam Razmadze is a media student. Her writings have appeared in Daily Art Magazine, Taste of Cinema, Screen Queens and more.

When Godard’s Characters Leave Civilisation Behind

Mariam Razmadze
January 2022
Forms That Think: Jean-Luc Godard
“True life is elsewhere. We are not in the world.” - Arthur Rimbaud No other director of the French New Wave has explored the theme of what we could call “elsewhereness” better than Jean-Luc Godard. While t...

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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