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      The Resolute Æsthetic: Bresson’s Lancelot du Lac

      Masha Shpolberg
      July 2005
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    • Deleuzian Rumblings: Residue by Desire Machine Collective

      Vedant Srinivas
      May 2022
    • Fire Machines: Titane and the Pyrotechnics of Love

      Emmalea Russo
      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
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    • Interview with Albert Birney & Kentucker Audley

      Masha Shpolberg
      May 2022
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    • ‘I Was Taunting the Western’: An Interview with Alejandra Márquez Abella

      Silvia Spitta & Gerd Gemünden
      May 2022
    • “The Act of Filming is an Inner and Physical Journey in Itself”: Interview with Helke Misselwitz

      Victor Paz
      May 2022
    • An Interview with Danny Lyon

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

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

      Madeleine Collier
      May 2022
    • Closing the Gap Between Self and Self: A Conversation with Nina Menkes

      Paulo B. Menezes
      May 2022
  • Great Directors
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    • Ouedraogo, Idrissa

      Masha Shpolberg
      July 2004
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      Sanya Osha
      May 2022
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      Darragh O’Donoghue
      May 2022
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      Jeremy Carr
      January 2022
    • Lau, Kar-leung

      Tom Cunliffe
      January 2022
    • Tahimik, Kidlat 

      Charles Fairbanks
      January 2022
    • Lucas, George

      Dan Golding
      July 2021
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    • Lansbury, Angela

      Masha Shpolberg
      May 2022
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      Mark Lager
      May 2022
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      Wheeler Winston Dixon
      May 2022
    • Garbo, Greta

      Jeremy Carr
      May 2022
    • Cage, Nicolas

      Jessica Balanzategui
      January 2022
  • Festival Reports
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    • “The Cinema Leads Me There”: the 41st International Film Festival Rotterdam

      Masha Shpolberg
      March 2012
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    • Day by Day: IFFR 2022

      Madeleine Collier
      May 2022
    • Absence and Presence at Internationale Kurzfilmtage Oberhausen. 68.

      Tara Judah
      May 2022
    • Stuck in traffic: IFFR 2022

      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
  • Book Reviews
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      The Boy From Oz: Blood and Tinsel: A Memoir by Jim Sharman

      Masha Shpolberg
      April 2009
      Book Reviews
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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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      The Role of the Pirate in Captain Blood - Buccaneering as Transgressive Political Action in the Swashbuckling Film?

      Masha Shpolberg
      November 2001
      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 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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