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      “A Film is a Synthesis”: An Interview with Ventura Pons

      Masha Shpolberg
      March 2018
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      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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      Tiger Tanaka - Interview with Japanese Cult Director Hiroyuki "Sabu" Tanaka

      Masha Shpolberg
      November 2000
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      Tara Judah
      January 2023
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      Maria Giovanna Vagenas
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      Toby Wu
      January 2023
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      David A. Gerstner
      January 2023
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      Arindam Sen
      January 2023
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      Hamed Sarrafi
      January 2023
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      Masha Shpolberg
      October 2020
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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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      Sara Delshad
      October 2022
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      Sanya Osha
      May 2022
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      Masha Shpolberg
      May 2022
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      Jacob Agius
      October 2022
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      Joy McEntee
      May 2022
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      Mark Lager
      May 2022
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      Jessica Balanzategui
      January 2022
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      Film Culture… and How to Make a Festival of It!: The 24th Torino Film Festival

      Masha Shpolberg
      February 2007
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      Leonardo Goi
      January 2023
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      Marc Raymond
      January 2023
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      Glenn D'Cruz
      January 2023
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      Kohei Usuda
      January 2023
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      Tara Judah
      January 2023
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      Neil Young
      January 2023
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      Bruno Dumont (Dis Voir, 2001) by Philippe Tancelin, Sébastien Ors and Valérie Jouve

      Masha Shpolberg
      March 2002
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    • For a Double-Edged Theory: Christian Metz’ Essais sur la signification au cinéma at 50

      Abel Muñoz Hénonin
      January 2023
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      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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      Some Notes on The Big Red One to Honour the 10th Anniversary of Sam Fuller’s Death

      Masha Shpolberg
      November 2007
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    • 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
    • Nosferatu: Eine Symphonie des Grauens (Nosferatu: A Symphony of Horror, F.W. Murnau, 1922)

      Martyn Bamber
      November 2022
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Author Masha Shpolberg

Masha Shpolberg

Masha Shpolberg is a Ph.D. Candidate in the joint Comparative Literature and Film and Media Studies Program at Yale University. Her work focuses on Eastern European cinema and the evolution of documentary film form.

In Memoriam: Sarah Maldoror (July 19, 1929–April 13, 2020)

Masha Shpolberg
July 2020
Feature Articles
Some filmmakers make their mark with a searing unity of vision. Film after film, they impose their inner landscapes or, perhaps, their unique way of seeing onto the world. Others begin not with themselves, but ...
Irony of Fate

1976: The Irony of Fate, or I Hope You Have a Nice Bath! (Eldar Riazanov)

Masha Shpolberg
December 2017
100 Years of Soviet Cinema
A Soviet Fairy Tale: Ironiya sudby, ili S legkim parom! (The Irony of Fate, or I Hope You Have a Nice Bath!, Eldar Riazanov, 1976) Canon formation tends to be a highly contentious affair, and part of the job o...
The Cranes Are Flying

1957: The Cranes Are Flying (Mikhail Kalatozov)

Masha Shpolberg
December 2017
100 Years of Soviet Cinema
Humanising the Soviet Subject: Letiat zhuravli (The Cranes Are Flying) When Letiat zhuravli (The Cranes Are Flying) was released in late 1957, it came as a revelation to audiences both within the Soviet Union ...
Polish documentary

Affect, Identification and Communion: The New Generation of Polish Documentary

Masha Shpolberg
December 2016
Feature Articles
In 1971, Krzysztof Kieślowski, Bohdan Kosiński and Tomasz Zygadło, three eminent if then still young documentarians, co-signed a manifesto entitled “Documentary Filmmakers Make Their Case.” In the manifesto, th...

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

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