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      The Three Faces of Spidey: Spiderman 2

      Rhiannon Dalglish
      October 2004
      Feature Articles
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    • Film Criticism and the Grotesque: A Very American Tár & an Oz Elvis

      Laleen Jayamanne
      August 2023
    • The aesthetics and politics of melodrama, reconsidered: Delitto d’amore / Crime of Love

      Thomas Austin
      August 2023
    • 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
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    • Interview with Albert Birney & Kentucker Audley

      Rhiannon Dalglish
      May 2022
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    • “Can You Prefigure Reality?”: A Conversation with Christoph Hochhäusler on his new film, Bis ans Ende der Nacht (Till the End of the Night)

      Marco Abel
      August 2023
    • The Klezmer Project (Adentro Mío Estoy Bailanado): A Conversation with Leandro Koch and Paloma Schachmann

      Maria Giovanna Vagenas
      August 2023
    • Chunky Shrapnel: A Conversation with John Angus Stewart

      C.S. Harper
      August 2023
    • A Cinematic Sojourn to the Land of Awe and Astonishment: Interview with Laura Citarella about El Pampero Cine and Trenque Lauquen

      Hamed Sarrafi
      August 2023
    • Here: An Interview with Bas Devos

      Maria Giovanna Vagenas
      May 2023
    • A Different Kind of Love Story: An Interview with Dustin Guy Defa

      Brigitta Wagner
      May 2023
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      Rhiannon Dalglish
      November 2007
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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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      Rhiannon Dalglish
      May 2023
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      Eloise Ross
      August 2023
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      Jacob Agius
      October 2022
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      Joy McEntee
      May 2022
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      May 2022
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      Jeremy Carr
      May 2022
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      Mark Lager
      May 2022
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      "Monologue is my preferred means of discourse." A Bricolage Interview with Richard Wolstencroft in absentia

      Rhiannon Dalglish
      June 2001
      Festival Reports
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    • Towards A Domestic Cinephilia: The 24th Jeonju International Film Festival

      Marc Raymond
      August 2023
    • Direct Cinephilia: Play-Doc 2023

      Fedor Tot
      August 2023
    • Stardust chronicle, a report from the 69th Internationale Kurzfilmtage Oberhausen

      Arindam Sen
      August 2023
    • Rising from the ashes: The 47th Hong Kong International Film Festival

      Maja Korbecka
      August 2023
    • The 22nd Transilvania International Film Festival: Open-world Stimulations

      Peter Virginas
      August 2023
    • Searching for Eros: the 76th Cannes Film Festival

      Savina Petkova
      August 2023
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    • African American Film

      Constructing An African-American Film History In the Absence of Films: Uplift Cinema: The Emergence of African American Film and the Possibility of Black Modernity, by Allyson Nadia Field

      Rhiannon Dalglish
      July 2016
      Book Reviews
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    • The Rebellious and the Rigorous: The Red Years of Cahiers du cinéma (1968-1973), by Daniel Fairfax

      Tony McKibbin
      August 2023
    • A Journey through Serge Daney’s Cinema House

      Emmanuel Bonin
      August 2023
    • 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
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      Thief

      Rhiannon Dalglish
      May 2007
      CTEQ Annotations on Film
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    • Czechoslovakia’s King and Queen of Comedy: Anny Ondra and Vlasta Burian in An Old Gangster’s Molls (Svatopluk Innermann, 1927)

      Shari Kizirian
      September 2023
    • It’s About Time We All Met a Happy End (Oldřich Lipský, 1967)

      Cerise Howard
      September 2023
    • Heave Ho! (Martin Frič, 1934)

      Faith Everard
      September 2023
    • Tomorrow I’ll Wake Up and Scald Myself with Tea (Jindřich Polák, 1977)

      Danica van de Velde
      September 2023
    • The Woman Suffers: “South Australia’s greatest film production” (Raymond Longford, 1918)

      Stephen Gaunson
      September 2023
    • The Sentimental Bloke (Raymond Longford, 1919)

      Darragh O’Donoghue
      September 2023
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Author Rhiannon Dalglish

Rhiannon Dalglish

Rhiannon Dalglish has a Bachelor of Arts majoring in Screen Studies from the University of Melbourne.

Ruin (Michael Cody & Amiel Courtin-Wilson, 2013)

Rhiannon Dalglish
October 2018
CTEQ Annotations on Film
Debuting at the Venice Film Festival in 2013 and winning the Orizzonti sidebar’s Special Jury Prize, Ruin (Michael Cody & Amiel Courtin-Wilson, 2013) promptly became the darling of film festival juries, if ...
The language of design

The Language of Design: Harry Seidler: Modernist (Daryl Dellora, 2016)

Rhiannon Dalglish
September 2017
CTEQ Annotations on Film
Premiering at the Australian embassy in Paris on 7 September 2016, Harry Seidler: Modernist (Daryl Dellora, 2016) documents the life of an architect both loved and loathed. Born in Vienna in 1923, Harry Seidler...
Morgiana

A Tail and Two Sisters: Morgiana (Juraj Herz, 1972)

Rhiannon Dalglish
June 2017
CTEQ Annotations on Film
In 1975, cult horror icon Karen Black played two sisters, Millicent and Therese, in a chapter of Dan Curtis’s horror film anthology, Trilogy of Terror. Dark-haired, suspicious Millicent is as repressed as showy...
article placeholder

No Business Like Shoah Business: The 19th Festival of Jewish Cinema

Rhiannon Dalglish
April 2009
Festival Reports
5-23 November 2008 Melbourne In a perfect world, Australian filmgoers would be juggling super-sized boxes of buttery popcorn and buckets of icy cola syrup, and settling into plush theatre seats to wat...

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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