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    • Fig 4:

      Nick’s Movies

      Viviane Vagh
      September 2013
      Feature Articles
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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
    • Values of Baz Luhrmann’s Elvis: A Carnival Ride

      Laleen Jayamanne
      January 2023
    • Fellini’s Memory: Amarcord

      Bruce Jackson
      January 2023
    • More than Mimicry: On Puppets and Interdependency in Annette and The Double Life of Véronique

      Indigo Bailey
      January 2023
    • After Structural Film: The Conceptual films of Morgan Fisher

      Arindam Sen
      January 2023
    • This Body Keeps the Score: the films of Saidin Salkic

      Dirk de Bruyn
      January 2023
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      Viviane Vagh
      January 2022
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      Tara Judah
      January 2023
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      Maria Giovanna Vagenas
      January 2023
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      Toby Wu
      January 2023
    • In Search of Lost Time: An Interview with Christophe Honoré

      David A. Gerstner
      January 2023
    • Slow Fireworks: The Films of Amy Halpern

      Arindam Sen
      January 2023
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      Hamed Sarrafi
      January 2023
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      Viviane Vagh
      July 2004
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      Giampiero Frasca
      January 2023
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      Sherry Johnson
      January 2023
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      Jeremy Carr
      October 2022
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      Hal Young
      October 2022
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      Sara Delshad
      October 2022
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      Sanya Osha
      May 2022
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      Viviane Vagh
      January 2022
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      Jacob Agius
      October 2022
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      Joy McEntee
      May 2022
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      Wheeler Winston Dixon
      May 2022
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      Jeremy Carr
      May 2022
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      Mark Lager
      May 2022
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    • Youth in motion: the 18th Transilvania International Film Festival

      Viviane Vagh
      July 2019
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      Leonardo Goi
      January 2023
    • A Report on the Exhibition Threshold (works by Dirk de Bruyn, Guy Grabowsky & Mat Hughes)

      Glenn D'Cruz
      January 2023
    • Politics, Isolation, Pandemic: The 35th Tokyo International Film Festival

      Kohei Usuda
      January 2023
    • The Kids Aren’t Alright: The 27th Busan International Film Festival

      Marc Raymond
      January 2023
    • Small but Mighty, the Power of the Donkey: Adelaide International Film Festival

      Saige Walton
      January 2023
    • All the Pain and Exploitation: 66th London Film Festival

      Tara Judah
      January 2023
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    • Trafic at 30, End of a Film Journal

      Viviane Vagh
      July 2022
      Book Reviews
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    • 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
    • Do we need Digital Tarkovsky?

      Corey P. Cribb
      October 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
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    • article placeholder

      Pickup on South Street

      Viviane Vagh
      July 2000
      CTEQ Annotations on Film
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    • I Remember: Amarcord (Federico Fellini, 1973)

      Jacob Agius
      February 2023
    • 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
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Author Viviane Vagh

Viviane Vagh

Viviane Vagh is an artist, filmmaker, theatre director and writer living in Paris.

Bref Magazine, or, A Tribute to Short Films and thus to the Cinema in General

Viviane Vagh
December 2012
Feature Articles
I have been acquainted with the magazine Bref: le magazine du court métrage (1) and have followed its articles on short films for many years now. Bref is the only French ­–and perhaps, the only magazine any...
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Keeping Experimental and “Different Cinema” Alive! An Interview with Marcel Mazé

Viviane Vagh
December 2011
Feature Articles
This year marks the 40th anniversary of France’s first filmmakers’ co-op, the Collectif Juene Cinéma. Marcel Mazé, founder and president, discusses its fascinating history.
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For the Love of Experimental Cinema: Interview with Christian Lebrat

Viviane Vagh
August 2007
Feature Articles
A key contributor to France’s experimental film culture, Christian Lebrat, filmmaker and director of the publishing imprint Paris Expérimental, talks about his films and related interests.
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For the Life of Experimental Cinema: A Conversation with Raphaël Bassan

Viviane Vagh
August 2007
Feature Articles
Filmmaker Viviane Vagh talks to one of the seminal figures of the French experimental film scene. Filmmaker, critic and cinema historian, Raphaël Bassan speaks about his career, his films and his life long passion for film.

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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