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      M. Night Shyamalan: A Preliminary Report

      Polona Petek
      March 2008
      Feature Articles
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    • “A long time ago….”: The Persistence and Longevity of ‘Star Wars’ at 45

      Tara Lomax
      October 2022
    • The Larrikin Girl: Challenging archetypes in Australian cinema

      Mark Freeman & Eloise Ross
      October 2022
    • Unrealisable woman: Tania in Stanley Kubrick’s Aryan Papers

      Joy McEntee
      October 2022
    • Anatomy of a Breakup or Her Life to Fix: The Worst Person in the World

      Salvador Carrasco
      October 2022
    • Respecting the Lives of Others: Bergman Island, Hommage and Anaïs in Love

      Anthony McKibbin
      August 2022
    • Protestploitation ’70: Revisiting Zabriskie Point and Strawberry Statement

      Selen Ozturk
      July 2022
  • Interviews
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    • Information as a music video, comedy as a diagram: Beny Wagner & Sasha Litvintseva in conversation

      Polona Petek
      May 2022
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    • We Learn by Making: A Conversation with Alexandra Cuesta

      Andrew Northrop
      October 2022
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      Maria Giovanna Vagenas
      October 2022
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      Maja Korbecka
      July 2022
    • The Plains: Conversation with David Easteal

      Maria Giovanna Vagenas
      July 2022
    • Human is only human when vulnerable: An Interview With Michel Franco

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

      Silvia Spitta & Gerd Gemünden
      May 2022
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      Polona Petek
      July 2005
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      Jeremy Carr
      October 2022
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      Hal Young
      October 2022
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      Sara Delshad
      October 2022
    • Smith, Jack: Travails of an Underground Artist

      Sanya Osha
      May 2022
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      Darragh O’Donoghue
      May 2022
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      Jeremy Carr
      January 2022
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      Polona Petek
      January 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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      Jeremy Carr
      May 2022
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      Mark Lager
      May 2022
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    • To Capture Life: The 5th Biennial Bigpond Adelaide Film Festival

      Polona Petek
      May 2011
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      Levan Tskhovrebadze
      October 2022
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      Nolan Kelly
      October 2022
    • Budapest Classics Film Marathon

      Andrew Northrop
      October 2022
    • Setting the World Ablaze: Notes from the 30th Curtas Vila do Conde International Film Festival

      Susana Bessa
      October 2022
    • The 75th Locarno Film Festival: Happy Birthday and Many Happy Returns

      Jaimey Fisher
      October 2022
    • (Fist) Bump in the Night at Fantasia 2022

      Jake Pitre
      October 2022
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      Defining the Cinematic Essay: The Essay Film by Elizabeth A. Papazian & Caroline Eades, and Essays on the Essay Film by Nora M. Alter & Timothy Corrigan

      Polona Petek
      December 2017
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    • 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
    • Trafic at 30, End of a Film Journal

      Emmanuel Bonin
      July 2022
    • 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
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      The Phantom of Liberty

      Polona Petek
      May 2002
      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 Polona Petek

Polona Petek

Polona Petek has a PhD in Cinema Studies from the University of Melbourne. Her first monograph, Echo and Narcissus: Echolocating the Spectator in the Age of Audience Research (Cambridge Scholars Publishing, 2008), argues for a productive nexus between theorisations of spectatorship and the currently more fashionable audience research. Petek’s latest research focuses on the changes in cinema brought about by globalisation and turbomobility, particularly in European cinema.

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The Cinema of Small Nations edited by Mette Hjort and Duncan Petrie

Polona Petek
August 2008
Book Reviews
Film scholarship is undergoing a paradigm shift. In the past decade or so, a significant body of work has emerged, which reflects the opinion that the nation-state – once the undisputed primary unit of economic...
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Reinventing European Cinema Studies? The New European Cinema: Redrawing the Map by Rosalind Galt and Crossing New Europe: Postmodern Travel and the European Road Movie by Ewa Mazierska and Laura Rascaroli

Polona Petek
May 2007
Book Reviews
The focus on European cinema is hardly a new development in film scholarship. European filmmakers and European national cinemas have been on the agenda of cinema studies ever since the inception of the discipli...
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Hitchcock’s Cryptonymies, Volume 1: Secret Agents by Tom Cohen

Polona Petek
February 2006
Book Reviews
American scholar Tom Cohen, whose areas of expertise include literature, cinema and cultural studies, gained international reputation with the publication of his first monograph, Anti-Mimesis from Plato to Hitc...
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History Films, Women, and Freud’s Uncanny by Susan E. Linville

Polona Petek
July 2005
Book Reviews
In her second monograph, Susan E. Linville, the author of Feminism, Film, Fascism: Women's Auto/Biographical Film in Postwar Germany (1), takes on a timely topic – the obsession of recent Hollywood cinema with ...

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