• Features
  • Festival Reports
  • Book Reviews
  • CTEQ
  • Great Directors
  • Great Actors
  • Special Dossiers
  • Past Issues
  • Podcast
  • Support us on Patreon
Search
Senses of Cinema logo
  • Dossiers
  • Features
    Random
    • A Tribute to Jonathan (Jono) Dawson

      Steffanie Ling
      September 2013
      Feature Articles
    Recent
    • 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
  • Interviews
    Random
    • “The cinema remains alive when it is diverse”: Interview with Jean-Gabriel Périot

      Steffanie Ling
      January 2022
      Interviews
    Recent
    • 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
    • Family as a Film Collective: An interview with Huang Ji and Ryûji Otsuka

      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
    • Korean Chinese, Borderland, and Transborder Encounters: A Conversation with Zhang Lu

      Yanjie Wang
      May 2023
  • Great Directors
    Random
    • Borzage, Frank

      Steffanie Ling
      March 2003
      Great Directors
    Recent
    • Thompson, J. Lee

      Jeremy Carr
      May 2023
    • Beresford, Bruce

      Benjamin Kooyman
      May 2023
    • Fosse, Bob

      Sherry Johnson
      January 2023
    • Cimino, Michael

      Giampiero Frasca
      January 2023
    • Sorrentino, Paolo

      Jeremy Carr
      October 2022
    • Craven, Wes

      Hal Young
      October 2022
  • Great Actors
    Random
    • Cage, Nicolas

      Steffanie Ling
      January 2022
      Great Actors
    Recent
    • Bogart, Humphrey

      Wheeler Winston Dixon
      May 2023
    • Divine

      Jacob Agius
      October 2022
    • Lansbury, Angela

      Joy McEntee
      May 2022
    • Caine, Michael

      Wheeler Winston Dixon
      May 2022
    • Garbo, Greta

      Jeremy Carr
      May 2022
    • Magee, Patrick

      Mark Lager
      May 2022
  • Festival Reports
    Random
    • article placeholder

      For Ever Godard Reviewed

      Steffanie Ling
      July 2001
      Festival Reports
    Recent
    • Generational Feminisms: the 45th Festival International de Films de Femmes

      Sian Mitchell
      May 2023
    • GoEast: the 23rd Festival of Central and Eastern European Film

      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
    Random
    • Marking Time, Duration as Subject: Tony Woods: Archive by Andrew Gaynor (ed.)

      Steffanie Ling
      October 2014
      Book Reviews
    Recent
    • 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
  • CTEQ
    Random
    • Ballad of Narayama

      Steffanie Ling
      February 2013
      CTEQ Annotations on Film
    Recent
    • 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
  • Support Senses
  • About Senses of Cinema
    • Contact Us
    • Staff
    • Thank you to our Patrons
    • Style Guide
  • Latest
  • Past Issues
  • World Poll
  • Podcast
  • Advertisers
  • Proposals
  • Call for Submissions
  • Shop
  • Subscribe
more articles... more articles... more articles... more articles... more articles...

Author Steffanie Ling

Steffanie Ling

Steffanie Ling is a cultural worker and guest living on the unceded territories of the xwməθkwəy̓əm (Musqueam), Skwxwú7mesh (Squamish) and Səl̓ílwətaʔ/Selilwitulh (Tsleil-Waututh) First Nations. She is a graduate student in the Department of Sociology and Anthropology at Simon Fraser University. Her books are NASCAR (Blank Cheque, 2016) and CUTS OF THIN MEAT (Spare Room, 2015).

To Be Crossed and Shattered: Solidarity as Disruption at the 67th International Kurzfilmtage Oberhausen

Steffanie Ling
July 2021
Festival Reports
In last year’s festival report of Internationale Kurzfilmtage Oberhausen I lamented a number of programs that were postponed, including the theme program, Solidarity as Disruption. This year, a selection of tha...

Thresholds of Work and Non-Work in Tulapop Saenjaroen’s People on Sunday

Steffanie Ling
October 2020
Feature Articles
Last January, I was seeking a joyful film at the International Film Festival Rotterdam. When I asked around, one recommended a film about a woman who attempts to flee an asylum. Others asked if I meant a comedy...

More Like Collage Than Contest: The 67th Internationale Kurzfilmtage Oberhausen Online

Steffanie Ling
July 2020
Festival Reports
The 66th Edition of the Internationale Kurzfilmtage Oberhausen went online too, and we all know why. A moment to note and speculate on some personally anticipated and logistically reasonable absences. re-sel...

Echoes of Exclamation: The 65th Internationale Kurzfilmtage Oberhausen

Steffanie Ling
July 2019
Festival Reports
The Internationale Kurzfilmtage Oberhausen is like a restaurant that everyone keeps going to even though the quality of the food is consistently unpredictable. The festival has fashioned itself as an idiosyncra...

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

Staff Members

Editors:

César Albarrán-Torres • Amanda Barbour • Tara Judah • Abel Muñoz-Hénonin • Fiona Villella

Contributing Partner

Donate to Senses

 

Click here to make a donation. If you are an Australian resident, any donations over $2 are tax deductible.

 

Search

  • About Senses of Cinema
  • Contact Us
  • Privacy
  • Proposals
  • Advertisers
  • Staff