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      More Sinned Against than Sinning: The Fabrications of “Pre-Code Cinema”

      Susana Bessa
      December 2003
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    • 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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      Laleen Jayamanne
      January 2023
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      Bruce Jackson
      January 2023
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      Indigo Bailey
      January 2023
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      Arindam Sen
      January 2023
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      Dirk de Bruyn
      January 2023
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      Susana Bessa
      May 2021
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      Maria Giovanna Vagenas
      March 2023
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      Tara Judah
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      Toby Wu
      January 2023
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      Maria Giovanna Vagenas
      January 2023
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      David A. Gerstner
      January 2023
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      Arindam Sen
      January 2023
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      Susana Bessa
      October 2011
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      Giampiero Frasca
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      Sanya Osha
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      East Asian Films at the 26th Toronto International Film Festival - A Report

      Susana Bessa
      November 2001
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      Leonardo Goi
      January 2023
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      Kohei Usuda
      January 2023
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      Marc Raymond
      January 2023
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      Glenn D'Cruz
      January 2023
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      Tara Judah
      January 2023
    • BABY, THE RAIN MUST FALL … on the Claude Sautet retrospective at the 70th San Sebastian International Film Festival

      Neil Young
      January 2023
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      Susana Bessa
      December 2011
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      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
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      Corey P. Cribb
      October 2022
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      Emmanuel Bonin
      July 2022
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      Susana Bessa
      March 2018
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      Emma Fajgenbaum
      March 2023
    • I Remember: Amarcord (Federico Fellini, 1973)

      Jacob Agius
      February 2023
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      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
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Author Susana Bessa

Susana Bessa

Susana Bessa is a Portuguese film critic and journalist, with a master’s degree in Film and Screen Studies from Goldsmiths College. An alumna of Berlinale Talents, she has written for MUBI, Público, Cinea, The Rumpus, among others. More recently, she became a collaborator for À Pala de Walsh, where she enjoys delving into rare films and all those in need of an urgent comeback. She has a particular predilection for ‘70s American movies and has studied boredom as an aesthetic tool for the longest time.

Setting the World Ablaze: Notes from the 30th Curtas Vila do Conde International Film Festival

Susana Bessa
October 2022
Festival Reports
Skimming through my many scribbles in a desired attempt to describe what Curtas Vila do Conde means 30 years into its instalment in Portugal’s now ever-growing film festival scene, the word I found I wrote down...

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

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