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      Interview with Sylvie Pierre

      Nicholas Bugeja
      December 2002
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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
    • Fellini’s Memory: Amarcord

      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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    • Do you feel lonely standing here? A conversation with Na Jiazuo

      Nicholas Bugeja
      January 2022
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      Tara Judah
      January 2023
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      Maria Giovanna Vagenas
      January 2023
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      Toby Wu
      January 2023
    • In Search of Lost Time: An Interview with Christophe Honoré

      David A. Gerstner
      January 2023
    • Slow Fireworks: The Films of Amy Halpern

      Arindam Sen
      January 2023
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      Hamed Sarrafi
      January 2023
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      Nicholas Bugeja
      May 2007
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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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      Nicholas Bugeja
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      Jacob Agius
      October 2022
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      May 2022
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      Mark Lager
      May 2022
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      Jessica Balanzategui
      January 2022
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      Inside and Outside: The 2006 AFI Fest/American Film Market

      Nicholas Bugeja
      May 2007
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      Leonardo Goi
      January 2023
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      Kohei Usuda
      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
    • 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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      Tertium Datur: The Cinema of Alexander Sokurov by Jeremi Szaniawski

      Nicholas Bugeja
      December 2014
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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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      To Shoot at the Impassive Stillness: Marcello Mastroianni in Luchino Visconti’s The Stranger (Lo straniero, 1967)

      Nicholas Bugeja
      February 2016
      CTEQ Annotations on Film
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    • 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
    • Sunrise: A Song of Two Humans (F.W. Murnau, 1927)

      Jacob Agius
      October 2022
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Author Nicholas Bugeja

Nicholas Bugeja

Nicholas Bugeja is a writer and editor. He has written for the ACMI blog, Film Matters and Overland. Nicholas is particularly interested in 1970s American cinema, post-war Japanese cinema, Indigenous Australian cinema, and the links between film and philosophy.

A journey through 1930s Japan: Mr. Thank You (Hiroshi Shimizu, 1936)

Nicholas Bugeja
April 2020
CTEQ Annotations on Film
The bus driver (Ken Uehara) at the heart of Mr Thank You derives his eponymous sobriquet from what he says to those roving through rural Japan when they let his bus pass. “Thank you,” the bus driver invariably ...

Romance, escapism and war in Ornamental Hairpin (Hiroshi Shimizu, 1941)

Nicholas Bugeja
April 2020
CTEQ Annotations on Film
In Hiroshi Shimizu’s 1941 film, the titular object of the ornamental hairpin firmly holds the story in place; the lynchpin of it, so to speak. On a fateful day at an isolated yet serene rural inn, Mr Nanmura (C...

The Past, Present and Future of Toomelah (Ivan Sen, 2011)

Nicholas Bugeja
October 2019
CTEQ Annotations on Film
The bulk of Ivan Sen’s cinematic oeuvre – documentary and fiction (not that there is always great disparity between the two) – converges around a set of core themes: the intractable legacy of British colonialis...

Death, Neglect and Conspiracy in Mystery Road (Ivan Sen, 2013)

Nicholas Bugeja
October 2019
CTEQ Annotations on Film
A dead Indigenous girl, no more than 16 years of age, is discovered in a drain underneath a highway in the aptly named Massacre Creek area. The drain is flanked by the wide, impossible expanses of outback Austr...

A Multitude of Meanings: The Long Take: Critical Approaches, ed. John Gibbs and Douglas Pye

Nicholas Bugeja
March 2019
Book Reviews
In the cinema, the long take is an instrument of multifaceted – sometimes paradoxical – power. In a film like Ladri di Biciclette (Bicycle Thieves, Vittorio de Sica, 1948) or Deux jours, une nuit (Two Days, One...

A City in Transition in Taipei Story (Edward Yang, 1985)

Nicholas Bugeja
October 2018
CTEQ Annotations on Film
The principal discovery being made by Taiwanese directors is their own history This new field of inquiry must negotiate the coexistence of colonizer with colonized; Confucianism with capitalism, democracy, an...

Love and Suffocation in Man Is Not a Bird (Dušan Makavejev, 1965)

Nicholas Bugeja
October 2018
CTEQ Annotations on Film
Makavejev aims to tear down and rebuild the basic blocks of moviemaking itself. Toggling easily, even imperceptibly, between fiction and documentary, his films can appear to be vérité portraits of everyday life...

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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Editors:

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

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