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    • Aesthetic Nationalism in English-Canadian Cinema

      Tina Kaufman
      December 2013
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    • Deleuzian Rumblings: Residue by Desire Machine Collective

      Vedant Srinivas
      May 2022
    • Acts of Faith: On Benedetta (Paul Verhoeven, 2021)

      Peter Verstraten
      May 2022
    • Fire Machines: Titane and the Pyrotechnics of Love

      Emmalea Russo
      May 2022
    • ‘Is The Power of the Dog a New Zealand film? National Identity, Genre and Jane Campion’

      Alfio Leotta & Missy Molloy
      May 2022
    • Play-Doc 2022: António Campos, a secret filmmaker

      Ricardo Vieira Lisbo
      May 2022
    • Cringing Violently: Reparative Watching, Phenomenology and Discomfort in Australian Cinema

      Caitlin Wilson
      May 2022
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    • ‘I Was Taunting the Western’: An Interview with Alejandra Márquez Abella

      Tina Kaufman
      May 2022
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    • “The Act of Filming is an Inner and Physical Journey in Itself”: Interview with Helke Misselwitz

      Victor Paz
      May 2022
    • An Interview with Danny Lyon

      Anonymous
      May 2022
    • The Creative Leap to Fluid Consciousness: An Encounter with Ashley McKenzie

      Brigitta Wagner
      May 2022
    • Interview with Albert Birney & Kentucker Audley

      Nolan Kelly
      May 2022
    • Information as a music video, comedy as a diagram: Beny Wagner & Sasha Litvintseva in conversation

      Madeleine Collier
      May 2022
    • Closing the Gap Between Self and Self: A Conversation with Nina Menkes

      Paulo B. Menezes
      May 2022
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      Tina Kaufman
      July 2002
      Great Directors
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      Sanya Osha
      May 2022
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      Darragh O’Donoghue
      May 2022
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      Jeremy Carr
      January 2022
    • Lau, Kar-leung

      Tom Cunliffe
      January 2022
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      Charles Fairbanks
      January 2022
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      Dan Golding
      July 2021
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      Tina Kaufman
      January 2022
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      Joy McEntee
      May 2022
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      Mark Lager
      May 2022
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      Wheeler Winston Dixon
      May 2022
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      Jeremy Carr
      May 2022
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      Tina Kaufman
      October 2020
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      Madeleine Collier
      May 2022
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      Tara Judah
      May 2022
    • Absence and Presence at Internationale Kurzfilmtage Oberhausen. 68.

      Tara Judah
      May 2022
    • From Within the Umbra of History: A Few Things about the Films of Rainer Komers, Sohrab Hura and Sylvia Schedelbauer

      Anuj Malhotra
      May 2022
    • Film Goes On (?): The 23rd Jeonju International Film Festival

      Marc Raymond
      May 2022
    • Rings of Saturn, Gardens of Empire: The 2022 Punto de Vista International Documentary Film Festival of Navarra

      Jay Kuehner
      May 2022
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    • cinema militant

      Against Auteurism: Cinéma Militant: Political Filmmaking and May 1968, by Paul Douglas Grant

      Tina Kaufman
      March 2018
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    • 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
    • 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
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      The Role of the Pirate in Captain Blood - Buccaneering as Transgressive Political Action in the Swashbuckling Film?

      Tina Kaufman
      November 2001
      CTEQ Annotations on Film
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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 Tina Kaufman

Tina Kaufman

Tina Kaufman was the editor of the Sydney Filmmakers Coop monthly newspaper, Filmnews for seventeen years. The newspaper covered all aspects of screen culture, policy and practice, which Tina continues to write about for various screen publications including Metro magazine and the online publication Screen Hub. A board member of the Sydney Film Festival for 25 years and a founding member of the Film Critics Circle of Australia, she is now an honorary life member of both organisations. She is also the author of Wake in Fright (Currency Press)

John Flaus Through the Pages of FilmNews

Tina Kaufman
October 2014
John Flaus Dossier
Back in the early ’60s I often went to the screenings at Sydney University’s Union Theatre, where the Sydney University Film Group programmed an interesting repertory selection, together with the occasional imp...

Albie – A Well-Directed Life

Tina Kaufman
March 2013
Albie Thoms Dossier
Albie Thoms at the Sydney Underground Film Festival One of the last things Albie Thoms did before he died late last year was organise a launch party for the book he was rushing to finish and see published. ...
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Looking Back, Looking Forward: The Sydney Film Festival at 50

Tina Kaufman
May 2003
Festival Reports
The 50th Sydney Film Festival runs from 6 to 20 June 2003. Program information and ticketing is on the website. The 'Persistence of Vision' symposium, which commemorates the Festival's 50-year anniversary, ...
article placeholder

It Can Happen Again: Urgent Enquiry Needed into Censorship

Tina Kaufman
March 2000
Censorship and Romance
An evaluation of the performance of the OFLC, and a look at Watch on Censorship's role.

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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