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      Orson Welles' Mr. Arkadin - A Maze of Death

      Peter Verstraten
      November 2000
      Feature Articles
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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
    • Values of Baz Luhrmann’s Elvis: A Carnival Ride

      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
    • This Body Keeps the Score: the films of Saidin Salkic

      Dirk de Bruyn
      January 2023
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    • “The Act of Filming is an Inner and Physical Journey in Itself”: Interview with Helke Misselwitz

      Peter Verstraten
      May 2022
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    • Afterwater: A Conversation with Dane Komljen

      Maria Giovanna Vagenas
      March 2023
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      Tara Judah
      January 2023
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      Maria Giovanna Vagenas
      January 2023
    • Flesh Memories: Yeo Siew Hua’s Expanded Cinema in The Once and Future

      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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    • Imamura, Shohei

      Peter Verstraten
      July 2003
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      Sherry Johnson
      January 2023
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      Giampiero Frasca
      January 2023
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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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      Peter Verstraten
      May 2022
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      Jacob Agius
      October 2022
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      Joy McEntee
      May 2022
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      Wheeler Winston Dixon
      May 2022
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      Mark Lager
      May 2022
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      Jessica Balanzategui
      January 2022
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    • Turning X in an XXY World: The 10th Mezipatra Queer Film Festival

      Peter Verstraten
      December 2009
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      Leonardo Goi
      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
    • Politics, Isolation, Pandemic: The 35th Tokyo International Film Festival

      Kohei Usuda
      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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      The Horror of Not Seeing: Recovering 1940s Horror Cinema: Traces Of A Lost Decade, by Mario DeGiglio-Bellemare, Charlie Ellbé, and Kristopher Woofter (eds).

      Peter Verstraten
      December 2015
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    • 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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      Corey P. Cribb
      October 2022
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      Emmanuel Bonin
      July 2022
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      Peter Verstraten
      February 2013
      CTEQ Annotations on Film
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    • Pickpocket (Robert Bresson, 1959)

      Emma Fajgenbaum
      March 2023
    • 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
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Author Peter Verstraten

Peter Verstraten

Peter Verstraten is an Assistant Professor in Film and Literary Studies at Leiden University. He is an author of among others Film Narratology, Humour and Irony in Dutch Post-war Fiction Film and its “sequel” Dutch Post-war Fiction Film through a Lens of Psychoanalysis.

Acts of Faith: On Benedetta (Paul Verhoeven, 2021)

Peter Verstraten
May 2022
Feature Articles
Several reviewers have described Benedetta (Paul Verhoeven, 2021) as a lesbian nunsploitation drama. Reports about the film, which had its world premiere at the Cannes film festival, invariably mention its prov...

A Cocktail of Lunacy and Love: Poetic Dimensions in Fabrice Du Welz’s “Ardennes” Trilogy

Peter Verstraten
July 2021
Feature Articles
After a modest attempt to create a national film industry in bilingual Belgium had run aground in the 1950s, Belgian cinema was split into two separate small cinemas – a Flemish and a Walloon (French-speaking) ...

Moonlight as a ‘Mass Art’ Film

Peter Verstraten
October 2019
This is what defined cinema in the 2010s
Given his interest in paradoxes, the French philosopher Alain Badiou dubbed cinema a ‘mass art’, although not every film can be categorised in this way. On the one hand, many movies are above all commercial far...

Valeska Grisebach’s Western: an unacknowledged remake of Samuel Fuller’s Run of the Arrow

Peter Verstraten
June 2018
Feature Articles
The oddest thing about Western (2017), the third feature film by the German director Valeska Grisebach after Mein Stern (Be My Star, 2001) and Sehnsucht (Longing, 2006), is its title. Borrowing neither an origi...
Roskam Feature Image

Le Fidèle as a Postmodern Love Romance: The Flemish Crime Dramas of Michaël R. Roskam

Peter Verstraten
March 2018
Feature Articles
Because of the almost insurmountable linguistic barrier between Flemish in Flanders and French in Wallonia, the history of twentieth-century Belgian cinema is best seen as a ‘split screen’ between two language ...
Brimstone

Fortunate Sinners: Martin Koolhoven’s Brimstone as an ‘Edam’ Western

Peter Verstraten
June 2017
Feature Articles
Between 1999 and 2008, the Dutch director Martin Koolhoven made eight feature films, none like any of the others. In 2005 he shot the multicultural rom-com Het schnitzelparadijs (Kitchen Paradise), about a Moro...
Elle

A French Connection: Paul Verhoeven’s Elle in Tandem with Jean Renoir’s The Rules of the Game

Peter Verstraten
December 2016
Feature Articles
Over the course of his long career, the Dutch director Paul Verhoeven has been at the centre of many a success and many a controversy. His second feature film, Turks fruit (Turkish Delight, 1973), is still the ...

Middle-of-the-Road Absurdism: The Cinema of Dutch Director Alex van Warmerdam

Peter Verstraten
March 2014
Feature Articles
Practically all published items on Borgman (2013), no matter how tiny, mentioned the fact that this was the first Dutch film to enter the Cannes main competition since 1975, the year Jos Stelling’s debut featur...

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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