Welcome to Issue 103! the editors October 2022 Editorial This All Hallows Eve, Senses of Cinema is publishing our first sustained inquiry into nonfiction cinema from the territories of former Yugoslavia. At a time when new nationalisms are again on the horizon, what ...
After Yugoslavia Nace Zavrl October 2022 After Yugoslavia “Would you agree that images of empty streets and houses, which had otherwise been bustling, suggest an unusual, otherwise uncommon absence of the per...
The Cinema of Cleansed Landscapes (On Image Politics after Yugoslavia) Pavle Levi October 2022 After Yugoslavia Note “We’ll have to put an shot of the park there, the way it looked before, so that the difference can be felt,” says filmmaker Srdjan Vuletić whil...
Notes on Depth Two Nikola Matevski October 2022 After Yugoslavia In what is perhaps the most disturbing and moving part of Dubina dva (Depth Two, Ognjen Glavonić, 2016), a female voice narrates the events of late Ma...
Dormeurs Pregnant with Potentialities: Contemplating Yugoslav Socialist Architecture in Centar and Home of the Resistance Nikola Radić October 2022 After Yugoslavia When asked about the phenomenon of filming Yugoslav socialist ruins in an interview on his film Muzej revolucije (Museum of the Revolution, 2021), Srđ...
The Architectural Legacy of a (Failed?) Revolution: I Am Your Future Dina Pokrajac October 2022 After Yugoslavia In his seminal history book and manifesto Town and the Revolution, the architect Anatole Kopp argues that the earliest socialist architecture stemmed ...
Threshold Aesthetics: Marianna Christofides’ Film Essayistic Encounters with ‘The Balkans’ Brenda Hollweg with Marianna Christofides October 2022 After Yugoslavia What is the pertinence of past events for the present moment and how can one open up history’s trajectory into the future? – We were sitting in Orșova...
Tito’s Image and Working through the Communist Past Zoran Samardžija October 2022 After Yugoslavia The aesthetic and political imperatives for nonfiction film in Serbia, after Yugoslavia, can be understood through the conclusion of Theodor Adorno’s ...
Landscapes of Resistance: Time and Temporality of Feminist Storytelling Ana Vujanović October 2022 After Yugoslavia Post-Yugoslav Documentary Films: Powered by Concerns At the time of a long, uneven, and still unfinished transition from socialism to capitalism in p...
Filmed Documents: From Lost to Found Miljana Niković October 2022 After Yugoslavia While some filmmakers use archival material to set a certain context for their stories and introduce documentation from the past (often without modify...
Homelands, We Have a Problem Sanjin Pejković October 2022 After Yugoslavia The fall of Yugoslavia was a historical event of huge importance for the Balkans, but also for the rest of Europe and the world. Different accounts an...
The War as a Fairytale: The Construction of Memory through Documentary Animation in A Kosovo Fairytale Anastasiia Gushchina October 2022 After Yugoslavia Yugoslavia was dismantled three decades ago after a series of deadly armed conflicts that encompassed all republics of the former state. Yet the quest...
The Land Keeps the Score: Grounding Remembrance in Disturbed Earth Dijana Jelača October 2022 After Yugoslavia In 21st century frames of war, where warfare is often waged remotely – via screens that guide unmanned missiles – there is a notable tendency for the ...
Karpotrotter: Matjaž Ivanišin and Karpo Godina Andrej Šprah October 2022 After Yugoslavia Introduction Slovenian filmmaking, especially documentary, is characterised by often being “generationally” marked by auteurs who, in a certain peri...
“A long time ago….”: The Persistence and Longevity of ‘Star Wars’ at 45 Tara Lomax October 2022 Feature Articles This article was peer reviewed This year Star Wars (George Lucas, 1977) commemorated its 45th anniversary. This anniversary recognises the passage of...
The Larrikin Girl: Challenging archetypes in Australian cinema Mark Freeman & Eloise Ross October 2022 Feature Articles This article has been peer reviewed Australian cinema has travelled a varied trajectory since its initial development in the late 19th century. The c...
Unrealisable woman: Tania in Stanley Kubrick’s Aryan Papers Joy McEntee October 2022 Feature Articles This article was peer reviewed. Introduction Stanley Kubrick oscillated between torturing his female characters and exhibiting sympathy for them. So...
Anatomy of a Breakup or Her Life to Fix: The Worst Person in the World Salvador Carrasco October 2022 Feature Articles Among the thousands of books that have been written trying to elucidate Hitler, there is a remarkable one by Ron Rosenbaum, Explaining Hitler: The Sea...
We Learn by Making: A Conversation with Alexandra Cuesta Andrew Northrop October 2022 Interviews The focus of a retrospective during the 2022 edition of the Open City Documentary Festival in London, Alexandra Cuesta’s films use established canons ...
Love Dog: Conversation with Bianca Lucas Maria Giovanna Vagenas October 2022 Interviews Intimate, sensitive and poetic, Love Dog, Bianca Lucas' surprising first feature film, shot in Natchez, Mississippi, portrays John, a young man mourni...
Skies Over and Caves Under Kutaisi: Kutaisi International Short Film Festival Levan Tskhovrebadze October 2022 Festival Reports Kutaisi International Short Film Festival (KISFF) is a pure manifestation of how film festivals can enrich and enhance a city’s cultural landscape. Ku...
NYFF 60: Hide and Seek Nolan Kelly October 2022 Festival Reports Something interesting happened in the opening minutes of Jafar Panahi’s No Bears when it was shown at the press preview for the New York Film Festival...
Budapest Classics Film Marathon Andrew Northrop October 2022 Festival Reports The Budapest Classics Film Marathon is a growing festival run by Hungary’s National Film Institute (NFI), drawing upon the film archive’s restoration ...
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 eve...
The 75th Locarno Film Festival: Happy Birthday and Many Happy Returns Jaimey Fisher October 2022 Festival Reports This year marked the 75th edition of the Locarno (Film) Festival, which started in 1946 and technically before the more famous Cannes festival – Canne...
(Fist) Bump in the Night at Fantasia 2022 Jake Pitre October 2022 Festival Reports As with many film festivals around the world, the 2022 Fantasia International Film Festival, its 26th edition, was a grand return to in-person moviego...
Living Ghosts at the Melbourne International Film Festival Eloise Ross October 2022 Festival Reports It was rather poetic that my first IRL interaction with the festival, on the Sunday of the first weekend, was a much-anticipated, rarest-of-rare scree...
Nothing will be left but memories Sofie Cato Maas October 2022 Festival Reports French writer Roger Martin du Gard believed that there was more truth to be found in a memory itself than in a written down version in a diary. Despit...
Sorrentino, Paolo Jeremy Carr October 2022 Great Directors b. 31 May, 1970, Naples, Campania, Italy The comparisons to Federico Fellini may be seen as both a blessing and a curse for Paolo Sorrentino. On one ...
Craven, Wes Hal Young October 2022 Great Directors b. 2 August, 1939, Cleveland, Ohio, U.S.A d. 30 August, 2015, Los Angeles, California, U.S.A 'The family is the best microcosm to work with…’ - Wes...
Dwoskin, Stephen Sara Delshad October 2022 Great Directors b. 15 November, 1939, Brooklyn, New York, U.S.A d. 28 June, 2012, London, UK Avant-garde cinema emerged at a time when cinema was still very young a...
Divine Jacob Agius October 2022 Great Actors b. 19 October 1945, Baltimore, Maryland, U.S.A d. 7 March 1988, Los Angeles, California, U.S.A “Oh God, it isn’t easy being Divine” – Divine, Mond...
Philosophy for the Blockbuster Audience: Christopher Nolan: Filmmaker and Philosopher, by Robbie B. H. Goh Tom Boniface-Webb October 2022 Book Reviews Bloomsbury Academic chooses for the most recent entry to its Philosophical Filmmakers series, the British/American writer, producer, director, Christo...
Do we need Digital Tarkovsky? Corey P. Cribb October 2022 Book Reviews In Digital Tarkovsky, Vinca Kruk and Daniel van der Velden (who publish, exhibit and campaign collectively under the moniker Metahaven: a self-describ...
Lost Paradise: F.W. Murnau’s Tabu: A Story of the South Seas (1931) Andréas Giannopoulos November 2022 CTEQ Annotations on Film By the end of the 1920s the success of Sunrise: A Song of Two Humans (1927) had made F. W. Murnau a significantly wealthy and commanding figure in Hol...
Nosferatu: Eine Symphonie des Grauens (Nosferatu: A Symphony of Horror, F.W. Murnau, 1922) Martyn Bamber November 2022 CTEQ Annotations on Film 2022 marks 100 years since the release of F. W. Murnau’s Nosferatu: Eine Symphonie des Grauens (Nosferatu: A Symphony of Horror (hereafter referred to...
Sunrise: A Song of Two Humans (F.W. Murnau, 1927) Jacob Agius October 2022 CTEQ Annotations on Film What can one say that hasn’t already been said about F.W. Murnau’s lyrical masterpiece, Sunrise: A Song of Two Humans (1927). The film marks the Germa...
A Dream of Light and Dark – F.W. Murnau and Faust David Melville October 2022 CTEQ Annotations on Film In the age of cinema the Faustian myth became a play of darkness and light, and this play indeed replaced all the words from Marlowe up to Goethe. ...
Die Finanzen des Großherzogs (The Grand Duke’s Finances, F.W. Murnau, 1924) Jonathan Mackris October 2022 CTEQ Annotations on Film The critic Chris Fujiwara once described Nicholas Ray’s Wind Across the Everglades (1958) as a “litmus test” of the auteur theory. Fujiwara intended t...
American Maverick: How Joan Micklin Silver Made Hester Street (1975) Shari Kizirian October 2022 CTEQ Annotations on Film After writing and directing several shorts and selling a script about the wives of soldiers missing in action during the Vietnam War (what became Mark...
“There’s meaning in a cup of tea”: Cecil Holmes’ Weekly Review no. 374: The Coaster (1948) Adrian Danks October 2022 CTEQ Annotations on Film Most discussion of the career of Cecil Holmes focuses, understandably, on the 30-year body of work he completed after migrating to Australia from New ...
Sitting on a Branch, Enjoying Myself (Sedím na konári a je mi dobre, Juraj Jakubisko, 1989) Darragh O’Donoghue October 2022 CTEQ Annotations on Film In 1968, Juraj Jakubisko, a graduate of Prague’s legendary FAMU film academy and recent employee of the Laterna Magika theatre, presented his adaptati...
Gazing at the Gaze: Celine Sciamma’s Portrait of a Lady on Fire (2019) Anders Furze September 2022 CTEQ Annotations on Film Music plays a central role in Portrait de la jeune fille en feu (Portrait of a Lady on Fire, 2019), director Céline Sciamma’s masterful 2019 queer per...
Ma Vie de Courgette (My Life as a Courgette, Claude Barras, 2016) Cristina Johnston September 2022 CTEQ Annotations on Film Much recent critical literature on cinematic representations of childhood explores the ways in which contemporary cinema bears witness to “a new recog...
Les Olympiades (Paris, 13th District, Jacques Audiard, 2021) Darragh O’Donoghue September 2022 CTEQ Annotations on Film Jacques Audiard’s Les Olympiades (2021) is adapted from three stories by beloved Californian comics artist and illustrator Adrian Tomine. At every po...
Girlhood (Céline Sciamma, 2014) Holly Willis September 2022 CTEQ Annotations on Film You might think of French writer-director Céline Sciamma’s remarkable 2014 film Girlhood as a portrait, one that captures the likeness of a girl, not ...
Petite Maman (Céline Sciamma, 2021) Louise Cain September 2022 CTEQ Annotations on Film The tonalities and textures of our childhood homes stay with us, buried deep within our consciousness: we remember the number of steps in a hallway, t...
Tomboy (Céline Sciamma, 2011) Faith Everard September 2022 CTEQ Annotations on Film “I’ll walk where my own nature would be leading: It vexes me to choose another guide” - Emily Brontë, Stanzas When the word “tomboy” first came i...
