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    • The fluids of Roma: necropolitics and class in Cuarón’s cinematic memoir

      Raqi Syed
      March 2019
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    • Deleuzian Rumblings: Residue by Desire Machine Collective

      Vedant Srinivas
      May 2022
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      Peter Verstraten
      May 2022
    • Fire Machines: Titane and the Pyrotechnics of Love

      Emmalea Russo
      May 2022
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      Alfio Leotta & Missy Molloy
      May 2022
    • Play-Doc 2022: António Campos, a secret filmmaker

      Ricardo Vieira Lisbo
      May 2022
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      Caitlin Wilson
      May 2022
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      Raqi Syed
      May 2022
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      Silvia Spitta & Gerd Gemünden
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      Anonymous
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      Brigitta Wagner
      May 2022
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      Nolan Kelly
      May 2022
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      Madeleine Collier
      May 2022
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      Paulo B. Menezes
      May 2022
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      Raqi Syed
      May 2002
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      Sanya Osha
      May 2022
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      Darragh O’Donoghue
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      Jeremy Carr
      January 2022
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      Tom Cunliffe
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      Charles Fairbanks
      January 2022
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      Dan Golding
      July 2021
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      Raqi Syed
      January 2022
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      Joy McEntee
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      Mark Lager
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      Wheeler Winston Dixon
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      Jeremy Carr
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      A Report on the 51st Berlin International Film Festival - in Particular The 31st International Forum of New Cinema

      Raqi Syed
      April 2001
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      Madeleine Collier
      May 2022
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      Tara Judah
      May 2022
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      Tara Judah
      May 2022
    • From Within the Umbra of History: A Few Things about the Films of Rainer Komers, Sohrab Hura and Sylvia Schedelbauer

      Anuj Malhotra
      May 2022
    • Film Goes On (?): The 23rd Jeonju International Film Festival

      Marc Raymond
      May 2022
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      Maria San Filippo
      May 2022
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    • Beyond Thumbs Up or Down: Aesthetic Evaluation and Film, by Andrew Klevan

      Raqi Syed
      December 2018
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    • 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
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      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
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    • Something New and Pure: Time Stood Still (Ermanno Olmi, 1959)

      Raqi Syed
      October 2019
      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 Raqi Syed

Raqi Syed

Raqi Syed is a Senior Lecturer, School of Design, at Victoria University of Wellington in New Zealand. She’s worked as a Visual Effects Artist on films such as Tangled, District 9, Avatar, Dawn of The Planet of the Apes, and The Hobbit Trilogy. In 2017, The Los Angeles Times pegged Raqi for its list of 100 Industry professionals who can help fix Hollywood’s Diversity Problem. Her writing focuses on film and gender, new media technologies, and the history and business of visual effects. Her essays have appeared in TechCrunch, Vice, Salon, Quartz, and The Los Angeles Review of Books. Raqi is a 2018 Sundance New Frontier Story Lab Fellow and a Turner Fellow. She holds an MFA from the USC School of Cinematic Arts and an MA in Creative Writing from Victoria University of Wellington.

Total Cinema: Or, “What is VR?”

Raqi Syed
March 2019
Feature Articles
In the late 1980s, throughout the ‘90s, and well into the 2000s, MIT Principle Research Scientist, Gloriana Davenport investigated the idea that movies had begun to operate as a kind of new “elastic” media. She...

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.

 

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