• 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
    • article placeholder

      Orchestration of Tears: The Politics of Crying and Reclaiming Women’s Public Sphere

      Stuart Richards
      October 2003
      Feature Articles
    Recent
    • “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
    Random
    • “A ghost mob”: Interview with Sandra Wollner

      Stuart Richards
      October 2020
      Interviews
    Recent
    • We Learn by Making: A Conversation with Alexandra Cuesta

      Andrew Northrop
      October 2022
    • Love Dog: Conversation with Bianca Lucas

      Maria Giovanna Vagenas
      October 2022
    • “Resistance is the driving force of the film”: An Interview with Davy Chou

      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
  • Great Directors
    Random
    • Ingram, Rex

      Stuart Richards
      September 2015
      Great Directors
    Recent
    • Sorrentino, Paolo

      Jeremy Carr
      October 2022
    • Craven, Wes

      Hal Young
      October 2022
    • Dwoskin, Stephen

      Sara Delshad
      October 2022
    • Smith, Jack: Travails of an Underground Artist

      Sanya Osha
      May 2022
    • Desai, Manmohan

      Darragh O’Donoghue
      May 2022
    • Curtiz, Michael

      Jeremy Carr
      January 2022
  • Great Actors
    Random
    • Cage, Nicolas

      Stuart Richards
      January 2022
      Great Actors
    Recent
    • 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
    • For Wrocław and the World: The 12th New Horizons Film Festival

      Stuart Richards
      August 2012
      Festival Reports
    Recent
    • Skies Over and Caves Under Kutaisi: Kutaisi International Short Film Festival

      Levan Tskhovrebadze
      October 2022
    • NYFF 60: Hide and Seek

      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
  • Book Reviews
    Random
    • article placeholder

      Belle de Jour (BFI Film Classics, London, 2001), by Michael Wood

      Stuart Richards
      March 2002
      Book Reviews
    Recent
    • Philosophy for the Blockbuster Audience: Christopher Nolan: Filmmaker and Philosopher, by Robbie B. H. Goh

      Tom Boniface-Webb
      October 2022
    • Do we need Digital Tarkovsky?

      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
  • CTEQ
    Random
    • The Freshman

      The Freshman (Sam Taylor and Fred Newmeyer, 1925)

      Stuart Richards
      March 2017
      CTEQ Annotations on Film
    Recent
    • 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
  • 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 Stuart Richards

Stuart Richards

Stuart Richards lectures in Screen Studies in the School of Creative Industries at the University of South Australia. His first monograph The Queer Film Festival: Politics and Popcorn is published as part of Palgrave Macmillan’s ‘Framing Film Festivals’ series. He has previously worked with both the Melbourne Queer Film Festival and The San Francisco Frameline International LGBTQ Film Festival. He is a member of the Australian Film Critics Association.

Leaning into the Challenge: Interview with Scattered co-creators Logan Mucha and Kate Darrigan

Stuart Richards
January 2022
Interviews
Social media platforms have long been avenues for filmmakers to experiment with form and story. YouTube, Vimeo and Snapchat have had varying amounts of original content from filmmakers. For many, TikTok is a ne...

Queer and Australian Features at the 2020 Adelaide Film Festival

Stuart Richards
January 2021
Festival Reports
Held primarily at Palace Nova in the CBD’s Eastend, the Adelaide Film Festival was one of only a few festivals in Australia that were able to hold in-cinema events in 2020. The festival took extra precautions t...

And Then We Danced: Queer sounds and movement

Stuart Richards
April 2020
Feature Articles
And Then We Danced had its premiere in Georgia on 8th December 2019. I got to first experience this tender film at the Melbourne International Film Festival earlier in August. Due to the queer themes explored, ...
John Waters

Divine Dog Shit: John Waters and Disruptive Queer Humour in Film (Issue 80, September 2016)

Stuart Richards
October 2019
Highlights from 20 years of Senses of Cinema
Originally published in Senses of Cinema issue 80, September 2016. John Waters is an icon of queer cinema, known for his use of grossness and bad taste. However, it is not grotesqueness alone that makes quee...

The 2018 Mezipatra Queer Film Festival: An Adventure Beyond Reality into a Queer Liminal Space

Stuart Richards
March 2019
Festival Reports
Themes of liminality run through the Mezipatra Queer Film Festival in Prague. The event is held in November each year, as Europe slowly turns to the coldness of winter. Once, when I stated that Prague was in Ea...
John Waters

Divine Dog Shit: John Waters and Disruptive Queer Humour in Film

Stuart Richards
September 2016
American Extreme
John Waters is an icon of queer cinema, known for his use of grossness and bad taste. However, it is not grotesqueness alone that makes queer film akin to Waters’ work; his humour is distinctly politically di...

The Festival Where First Feature Directors Reigned: the 38th Frameline San Francisco International LGBT Film Festival

Stuart Richards
October 2014
Festival Reports
Audiences attending the Frameline San Francisco International LGBT Film Festival earlier this year for San Francisco Pride month were, as always, vocal in their love of queer cinema. The quality of LGBT films c...

A Soul Nourishing Pilgrimage: The 35th Frameline San Francisco International LGBT Film Festival

Stuart Richards
October 2011
Festival Reports
Frameline is a film festival that is flourishing alongside the dramatic changes in queer and LGBT identity politics. The larger, more prominent screenings occur in the Castro neighbourhood, which is famed for b...

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