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      “You Wouldn’t Even Believe What Your Eyes Can See”: Cinema’s Messianism and Fascist Reflection in John Schlesinger’s The Day of the Locust

      Philip Cartelli
      May 2006
      Feature Articles
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    • Horse-People and White Voices: Neoliberalism and Race in Sorry to Bother You

      Thomas Austin
      May 2023
    • The Exorcism of Sinister Ghosts: Saralisa Volm’s The Silent Forest

      Peter Verstraten
      May 2023
    • Spectatorial Labour: The Political Vision of Sergei Loznitsa’s Documentaries

      Santasil Mallik
      May 2023
    • 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
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    • Laying Bare the Anzac Legend: Interview with Köken Ergun

      Philip Cartelli
      October 2019
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      Maria Giovanna Vagenas
      May 2023
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      Brigitta Wagner
      May 2023
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      Maja Korbecka
      May 2023
    • Biting comedy: An Interview with Japanese director Hyûga Fumiari

      Purple Romero
      May 2023
    • When in Love, Make a Film: Interview with Alexandre O. Philippe

      Hamed Sarrafi
      May 2023
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      Silvia Spitta & Gerd Gemünden
      May 2023
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      Philip Cartelli
      July 2004
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      Jeremy Carr
      May 2023
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      Benjamin Kooyman
      May 2023
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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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      Philip Cartelli
      May 2022
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      Wheeler Winston Dixon
      May 2023
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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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      Jeremy Carr
      May 2022
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      Jessica Balanzategui
      January 2022
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      30th Rotterdam International Film Festival

      Philip Cartelli
      February 2001
      Festival Reports
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    • Generational Feminisms: the 45th Festival International de Films de Femmes

      Sian Mitchell
      May 2023
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      Carmen Gray
      May 2023
    • CPH:DOX 2023: At World’s End

      Will DiGravio
      May 2023
    • Punto de Vista 2023: Dust No Longer Clouds Our Eyes

      Jay Kuehner
      May 2023
    • All the world’s a stage IFFR Critics’ Choice 9: PLAY

      Tara Judah
      May 2023
    • Sundance 2023 – Hybridity and Transgressive Heroes

      Bérénice Reynaud
      May 2023
  • Book Reviews
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    • Cinema, the Art of Artificial Darkness: Artificial Darkness: An Obscure History of Modern Art and Media, by Noam Elcott

      Philip Cartelli
      June 2018
      Book Reviews
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    • Bloody, Raging Females: Five Books Examine Contemporary Feminist Horror Films

      Holly Willis
      May 2023
    • Cinematic Bottom-Feeding: Why It’s OK to Love Bad Movies, by Matthew Strohl

      Sam Woolfe
      May 2023
    • 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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      Blowup

      Philip Cartelli
      February 2005
      CTEQ Annotations on Film
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    • Days (Tsai Ming-liang, 2020)

      Jacob Agius
      May 2023
    • Afflictions of Pain and Desire: The River (Tsai Ming-liang, 1997)

      Alex Williams
      May 2023
    • The Wayward Cloud (Tsai Ming-liang, 2005)

      Amelia Leonard
      May 2023
    • Goodbye, Dragon Inn (Tsai Ming-liang, 2003)

      Andrew Le
      May 2023
    • The Skywalk is Gone (Tsai Ming-liang, 2002)

      Digby Houghton
      May 2023
    • What Time is it There? (Tsai Ming-liang, 2001)

      Jessica Balanzategui
      May 2023
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Author Philip Cartelli

Philip Cartelli

Philip Cartelli holds a PhD in Media Anthropology from Harvard University, where he was a member of the Sensory Ethnography Lab, and a PhD in Sociology from the Ecole des hautes études en sciences sociales. His academic and critical writing has appeared in a variety of print and web publications and he has presented and discussed his audiovisual work and research in film festivals, contemporary art venues and conferences.

Berlin Critics Week 2017

Lost in Politics: the 3rd Berlin Critics’ Week

Philip Cartelli
March 2017
Festival Reports
Creating a new film festival in the same time and place as one of the world’s most venerable and large cinematic celebrations may seem like a futile task, but the third edition of the Berlin Critics’ Week (Woch...
P’tit Quinquin film analysis

Notes on Bruno Dumont’s P’tit Quinquin, or Something is Rotten in the North of France

Philip Cartelli
June 2015
Feature Articles
I. It’s the first one in the film – what is often dismissively labelled an establishing shot, as though all that it does is to set the stage for something else like an empty contextual vessel. But shots like t...

International Tourism: The 25th FID-Marseille Festival

Philip Cartelli
October 2014
Festival Reports
For the past twenty years, Marseille has been home to the largest urban development project in Europe, a redesign of the city’s aging and increasingly obsolete Mediterranean seaport infrastructure intended to a...

Finding the Centre: The 64th Berlinale

Philip Cartelli
March 2014
Festival Reports
Hito Steyerl’s 1998 film The Empty Centre follows the transformation of downtown Berlin’s Potsdamer Platz from a no-man’s land, once split in half by the Berlin Wall, to a central European Times Square, thick w...

When the “Real” is Not Enough: The 35th Cinéma du Réel

Philip Cartelli
June 2013
Festival Reports
The Cinéma du Réel in Paris has acquired a largely deserved reputation for operating outside of a non-fiction cinematic mainstream. Some of the works screened during its 35th edition, however, left it unclear w...

Quotidian Melancholy: Marcel Hanoun’s Une simple histoire

Philip Cartelli
December 2012
Feature Articles
Cinephiles around the world mourned Chris Marker’s passing earlier this year, while the death of another avant-garde filmmaker and former countryman of Marker’s has largely gone unnoticed aside from a few annou...

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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