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      Interview with Laleen Jayamanne

      Nicholas Bugeja
      May 2002
      Feature Articles
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    • The Experimental Propagandist: Frank Capra and the Shape of Truth

      Richard Sowada
      January 2022
    • Heil Darling: a story of lips that haven’t laughed

      Pablo Gonçalo
      January 2022
    • The Night Shift: Woman as Outlaw Hero in The Man I Love

      Rob Nixon
      January 2022
    • Smooth Digital Reveries: On Proto-Vaporwave and The Flying Luna Clipper

      Dechlan Cochran
      January 2022
    • Promising Young Woman and the cinematic renegotiation of gender in rape-revenge

      Joy McEntee
      January 2022
    • Streaming paracinema: Charles Band, Full Moon Features and auteurism on third tier SVOD services

      Andrew Lynch and Alexa Scarlata
      January 2022
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    • “I Myself am a Woman”: A Conversation with Han Shuai

      Nicholas Bugeja
      July 2021
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      Maja Korbecka
      January 2022
    • Leaning into the Challenge: Interview with Scattered co-creators Logan Mucha and Kate Darrigan

      Stuart Richards
      January 2022
    • “The cinema remains alive when it is diverse”: Interview with Jean-Gabriel Périot

      Daniel Fairfax
      January 2022
    • Do you feel lonely standing here? A conversation with Na Jiazuo

      Łukasz Mańkowski
      January 2022
    • A Joyride through Technological Change: Interview with David Cox

      Dirk de Bruyn
      January 2022
    • Sunken Film: Bill Morrison Talks The Village Detective: a song cycle

      Andrew Northrop
      July 2021
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      Nicholas Bugeja
      May 2002
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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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      Jeremy Carr
      July 2021
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      Hal Young
      May 2021
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      WOW International Film Festival – A Preview

      Nicholas Bugeja
      October 2002
      Festival Reports
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      Maria Giovanna Vagenas
      February 2022
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      Kohei Usuda
      February 2022
    • Come Together: The 59th Viennale

      Leonardo Goi
      January 2022
    • From White Clouds, Wild Delights: The 18th Golden Apricot Yerevan International Film Festival

      Carmen Gray
      January 2022
    • AFI FEST-AFM: The Perils of Online

      Bérénice Reynaud
      January 2022
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      Amelia Leonard and Jacob Agius
      January 2022
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      Screening Life/Death: Deathwatch: American film, technology, and the end of life by C. Scott Combs

      Nicholas Bugeja
      March 2016
      Book Reviews
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    • 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
    • Time Machines: After Kubrick: A Filmmaker’s Legacy, edited by Jeremi Szaniawski

      Joy McEntee
      May 2021
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    • A Man Escaped

      Nicholas Bugeja
      March 2012
      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 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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