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    • The Railway Man

      Bringing the War Back Home: An Interview with Jonathan Teplitzky on The Railway Man

      Shari Kizirian
      December 2013
      Feature Articles
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    • The Experimental Propagandist: Frank Capra and the Shape of Truth

      Richard Sowada
      January 2022
    • Heil Darling: a story of lips that haven’t laughed

      Pablo Gonçalo
      January 2022
    • The Night Shift: Woman as Outlaw Hero in The Man I Love

      Rob Nixon
      January 2022
    • Smooth Digital Reveries: On Proto-Vaporwave and The Flying Luna Clipper

      Dechlan Cochran
      January 2022
    • Promising Young Woman and the cinematic renegotiation of gender in rape-revenge

      Joy McEntee
      January 2022
    • Streaming paracinema: Charles Band, Full Moon Features and auteurism on third tier SVOD services

      Andrew Lynch and Alexa Scarlata
      January 2022
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    • Mobilities Between Place, Sound and Image: An Interview with Ana Vaz

      Shari Kizirian
      May 2021
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    • Pom Bunsermvicha interview: “Being part of a family“

      Maja Korbecka
      January 2022
    • Leaning into the Challenge: Interview with Scattered co-creators Logan Mucha and Kate Darrigan

      Stuart Richards
      January 2022
    • “The cinema remains alive when it is diverse”: Interview with Jean-Gabriel Périot

      Daniel Fairfax
      January 2022
    • Do you feel lonely standing here? A conversation with Na Jiazuo

      Łukasz Mańkowski
      January 2022
    • A Joyride through Technological Change: Interview with David Cox

      Dirk de Bruyn
      January 2022
    • Sunken Film: Bill Morrison Talks The Village Detective: a song cycle

      Andrew Northrop
      July 2021
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      Shari Kizirian
      July 2009
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      Jeremy Carr
      January 2022
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      Tom Cunliffe
      January 2022
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      Charles Fairbanks
      January 2022
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      Dan Golding
      July 2021
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      Jeremy Carr
      July 2021
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      Hal Young
      May 2021
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    • Rendez-vous in Autumn: China-US Summit/American Film Market/AFI FEST

      Shari Kizirian
      March 2019
      Festival Reports
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    • Thessaloniki International Film Festival: Rewriting the Rules of the Game

      Maria Giovanna Vagenas
      February 2022
    • The Pivot to Asia: The 34th Tokyo International Film Festival

      Kohei Usuda
      February 2022
    • Come Together: The 59th Viennale

      Leonardo Goi
      January 2022
    • From White Clouds, Wild Delights: The 18th Golden Apricot Yerevan International Film Festival

      Carmen Gray
      January 2022
    • AFI FEST-AFM: The Perils of Online

      Bérénice Reynaud
      January 2022
    • Looking for Love at HitchCon 2021

      Amelia Leonard and Jacob Agius
      January 2022
  • Book Reviews
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      Soundscape: The School of Sound Lectures 1998-2001 edited by Larry Sider, Diane Freeman, and Jerry Sider

      Shari Kizirian
      February 2004
      Book Reviews
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    • 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
    • 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
    • Time Machines: After Kubrick: A Filmmaker’s Legacy, edited by Jeremi Szaniawski

      Joy McEntee
      May 2021
  • CTEQ
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    • Pete Kelly's Blues

      Shari Kizirian
      May 2000
      CTEQ Annotations on Film, John Flaus Dossier
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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 Shari Kizirian

Shari Kizirian

Shari Kizirian edits the program books for the San Francisco Silent Film Festival.

Fritz Lang’s Spione (1928)

Shari Kizirian
May 2022
CTEQ Annotations on Film
It begins like any good spy thriller should, with a fast-paced action-filled set up, here done in a style so clipped and cryptic it leaves us breathless. That there’s a confession in the first few minutes only ...

The Trouble with Sound: Prix de beauté (Augusto Genina, 1930)

Shari Kizirian
October 2019
CTEQ Annotations on Film
Variety’s correspondent in Berlin describes the unfortunate fate of Prix de beauté (Augusto Genina, 1930), a film about a beauty queen saddled with a jealous boyfriend, released during the mad rush to sound: “O...

Rosita (Ernst Lubitsch, 1923)

Shari Kizirian
July 2019
CTEQ Annotations on Film
A 1923 American release about a scrappy street singer who catches the eye of a lascivious king in a fictional Old Seville, Rosita was a turning point in the careers of two of silent-era cinema’s most consequent...

The Ascent (1977): Larisa Shepitko’s Final Word

Shari Kizirian
March 2019
CTEQ Annotations on Film
The breathless immediacy of Voskhozhdeniye (The Ascent, Larisa Shepitko, 1977), adapted from a novella by Vasily Bykov about two Belarusian partisans during World War II, combines with a profound understanding ...
Asphalt

Asphalt (Joe May, 1929)

Shari Kizirian
June 2018
CTEQ Annotations on Film
Light on plot and heavy in atmosphere, Asphalt (Joe May, 1929) was one of the last silent films to come out of Ufa, and the German mega-studio seems to have spared no expense in its making. The story of a young...
The Girl With the Hat Box

1927: The Girl with the Hatbox (Boris Barnet)

Shari Kizirian
December 2017
100 Years of Soviet Cinema
The first solo effort by Boris Barnet, Devushka s korobkoy (The Girl with the Hatbox) opened during a pinnacle year for silent cinema. Called “annus mirabilis” by Kevin Brownlow (1), 1927 saw the premieres of M...

1927: October (Sergei Eisenstein)

Shari Kizirian
December 2017
100 Years of Soviet Cinema
In 1926, the October Revolution Jubilee Committee pulled Sergei Eisenstein, Grigorii Aleksandrov, and cameraman Eduard Tisse away from Generalnaia Liniia (The General Line, eventually completed in 1929) to begi...
Man With a Movie Camera

1929: Man With a Movie Camera (Dziga Vertov)

Shari Kizirian
December 2017
100 Years of Soviet Cinema
From Failed Propaganda to Timeless Masterpiece: Man with a Movie Camera (Dziga Vertov, 1929) In 1927 while Soviet cinema was celebrating the tenth anniversary of the Bolshevik Revolution, one of its most ferve...
Regeneration

Regeneration (1915): Raoul Walsh Begins

Shari Kizirian
September 2017
CTEQ Annotations on Film
Made the year exhibitor William Fox established himself as a moviemaker, Regeneration (Raoul Walsh, 1915) was released as part of the company’s ambitious plan for filling its 125-movie-theater chain with its ow...
L’Argent film review

Money Makes the Movies Go Round: Marcel L’Herbier’s L’Argent

Shari Kizirian
September 2015
CTEQ Annotations on Film
Motion pictures get made in a tensile tradeoff between art and commerce, expression and resources, creator and investor, and most elementally both on-set and behind-the-scenes, between director and producer. So...
Intermezzo film review

An Interlude in Swedish Cinema: Gustaf Molander’s Intermezzo

Shari Kizirian
June 2015
CTEQ Annotations on Film
When Hollywood came calling to sign both Ingrid Bergman and Gustaf Molander for a remake of Intermezzo (1936), the actress and the director’s reluctance was probably no surprise, considering MGM’s famous diffic...
The Patsy

The Mistress and the Actress: Marion Davies in The Patsy

Shari Kizirian
August 2013
CTEQ Annotations on Film
A black sheep with blonde hair, Patsy Harrington has a crush. The younger sister of the social-climbing Grace who, abetted by a single-minded mother and a weak-willed father, always gets her way, Patsy is the f...

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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