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    • The Embrace of the Serpent and the dark legacy of the rubber holocaust

      Stuart Richards
      June 2018
      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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    • Genre, Women and the Romantic Comedy: An Interview with Elizabeth Sankey

      Stuart Richards
      March 2019
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      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
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      Brigitta Wagner
      May 2023
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      Maria Giovanna Vagenas
      May 2023
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      Stuart Richards
      January 2003
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      Jeremy Carr
      May 2023
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      Benjamin Kooyman
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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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      Stuart Richards
      May 2023
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      Eloise Ross
      August 2023
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      Jacob Agius
      October 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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    • Last Year’s Revolutions: The 51st Thessaloniki International Film Festival

      Stuart Richards
      March 2011
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      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
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      Will DiGravio
      August 2023
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    • Revealing the Soul of a Cinematic Passeur: Mysteries of Cinema: Reflections on Film Theory, History and Culture 1982-2016, by Adrian Martin

      Stuart Richards
      March 2019
      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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      Pale Flower

      Stuart Richards
      April 2009
      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 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.

 

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