Introduction the editors May 2023 Editorial Fresh from the lands of the Kulin Nations, welcome to Issue 105 of Senses of Cinema! Guest editor Xiang Fan has curated a dossier on Cinema and Piracy that honours the diversity of filmgoing experiences across ...
Introduction Xiang Fan May 2023 Cinema and Piracy What do piracy and new technologies mean for cinema? With the decline of movie theatres and the emergence of new digital media over the past few decad...
YouTube as the Pirate Archive: South Vietnamese Cinema and Memories of the Second Indochina War Scarlette Nhi Do May 2023 Cinema and Piracy When folks inquire about my research on Second Indochina War cinemas, they usually ask where they can watch the movies I am analysing. “YouTube” I wou...
Making a Case for piratas: Understanding the Complexity of Piracy in Colombia from the Vendor’s Standpoint Luisa González and Juana Suárez May 2023 Cinema and Piracy In Latin American countries, piracy has been a way to access films for different audiences since VHS technology became popular. Piracy has been equall...
Beyond Fortresses: Piracy and Grassroots Cinephile Culture in China Xiang Fan May 2023 Cinema and Piracy I grew up in a provincial city in Northeast China, and before the internet age, my main way of exploring the world outside the city was through televi...
Sharing is Transgressing: Piracy, Film Societies and Independent Filmmaking in Dhaka Imran Firdaus May 2023 Cinema and Piracy Pirated films found a place in the social and cultural sphere of the People’s Republic of Bangladesh during the 1980s. State controlling the access to...
Videoteca di Classe: leftist film piracy against Italian neofascism Amanda Robusti May 2023 Cinema and Piracy The Cold War and American influence on the socio-political context of postwar Italy was seen on small screens and the big screen. These agents fostere...
‘Defiant Access’ and ‘Cultural Revenge’: Australia Re-imagined Through Archive Cinema Wendy Haslem May 2023 Cinema and Piracy Borrowed, remixed, archival, or appropriated images and sounds that are used to build found footage montages have the potential to create counter narr...
Horse-People and White Voices: Neoliberalism and Race in Sorry to Bother You Thomas Austin May 2023 Feature Articles The comedy drama Sorry to Bother You (2018), written and directed by Boots Riley, follows the trials and tribulations of Cassius, aka “Cash”, Green (p...
The Exorcism of Sinister Ghosts: Saralisa Volm’s The Silent Forest Peter Verstraten May 2023 Feature Articles Papas Kino (Daddy’s Cinema) was the derogatory term applied to the post-war West German films that reproduced the conventions of movies made in the fa...
Spectatorial Labour: The Political Vision of Sergei Loznitsa’s Documentaries Santasil Mallik May 2023 Feature Articles Earlier last year, the Belarus-born Ukrainian filmmaker Sergei Loznitsa drew a spate of hostile reactions when he denounced the blanket ban on Russian...
Here: An Interview with Bas Devos Maria Giovanna Vagenas May 2023 Interviews With Here, his fourth feature film and winner of the Encounters and the Fipresci Award at the 73rd Berlinale, the Belgian director Bas Devos creates a...
A Different Kind of Love Story: An Interview with Dustin Guy Defa Brigitta Wagner May 2023 Interviews Wolfgang Kohlhaase, a prolific German screenwriter from the former East, once told me that cinematic realism was to him like the view out the kitchen ...
Family as a Film Collective: An interview with Huang Ji and Ryûji Otsuka Maja Korbecka May 2023 Interviews The third full-length collaboration between the filmmaking duo Huang Ji and Ryûji Otsuka, Stonewalling, had its world premiere at the 2022 Venice Film...
Biting comedy: An Interview with Japanese director Hyûga Fumiari Purple Romero May 2023 Interviews The individual vs. a bigger power: a recurring theme in the documentaries of Japanese filmmaker Hyûga Fumiari. But what is this bigger power? Document...
When in Love, Make a Film: Interview with Alexandre O. Philippe Hamed Sarrafi May 2023 Interviews Over the course of nearly two decades, Alexandre O. Philippe has celebrated and explored the iconic figures of the seventh art, from Lucas and Ford to...
“I Needed to See Light”: An Interview with Tatiana Huezo Silvia Spitta & Gerd Gemünden May 2023 Interviews “Quería ver luz” – these are the words director Tatiana Huezo used to describe to us the impetus behind El Eco (The Echo), her latest documentary, whi...
Korean Chinese, Borderland, and Transborder Encounters: A Conversation with Zhang Lu Yanjie Wang May 2023 Interviews Korean-Chinese director Zhang Lu, a former writer and academic, ventured into the world of cinema in the early 2000s. His debut short, called 11 sui (...
Generational Feminisms: the 45th Festival International de Films de Femmes Sian Mitchell May 2023 Festival Reports As a director of a women’s film festival here in Melbourne, the opportunity to attend the world’s oldest, still running women’s film festival – the Fe...
GoEast: the 23rd Festival of Central and Eastern European Film Carmen Gray May 2023 Festival Reports Andrii Donchyk’s debut fiction feature Oxygen Starvation (1991), a devastating vision of military service in the Soviet army, was one of the first non...
CPH:DOX 2023: At World’s End Will DiGravio May 2023 Festival Reports Among the great cognitive dissonances of our time is the fact that those of us who fear the end of the world by way of natural forces like climate cha...
Punto de Vista 2023: Dust No Longer Clouds Our Eyes Jay Kuehner May 2023 Festival Reports I approached the 17th edition of Punto de Vista (International Documentary Film Festival of Navarra) with necessary ambivalence, owing on the one hand...
All the world’s a stage IFFR Critics’ Choice 9: PLAY Tara Judah May 2023 Festival Reports In Inge Coolsaet’s video essay (putting) On Aftersun, she divulges that her brother missed the early scene in the film where the tour guide mentions T...
Sundance 2023 – Hybridity and Transgressive Heroes Bérénice Reynaud May 2023 Festival Reports Sundance 2023 (hybrid again this year) expanded its multicultural reach, spreading over several sections. It offered films by and about Black protagon...
Sweet Madness: the 2023 Berlinale Daniel Fairfax May 2023 Festival Reports Reader, sometimes it feels like I have been penning film festival reports for an eternity – and not just because of the distension of durée that we ha...
All that is Solid Melts into Air: IFFR 2023 Madeleine Collier May 2023 Festival Reports In early December, I received an unexpected email. After participating virtually in the IFFR Young Critics Program in 2019, I was invited to take part...
Thompson, J. Lee Jeremy Carr May 2023 Great Directors b. 1 August, 1914, Bristol, England, UK d. 30 August, 2002, Sooke, British Columbia, Canada He directed some of the most famous actors in film histo...
Beresford, Bruce Benjamin Kooyman May 2023 Great Directors b. 1940, Paddington, Sydney, Australia That we would see in letters five feet high His name one day spread shining in the gloom Preceded with the w...
Bogart, Humphrey Wheeler Winston Dixon May 2023 Great Actors b. December 25 1899, New York City, U.S. d. January 14 1957, Los Angeles, California, U.S. Humphrey DeForest Bogart, arguably the first true anti-he...
Bloody, Raging Females: Five Books Examine Contemporary Feminist Horror Films Holly Willis May 2023 Book Reviews A few days after the death of 22-year-old Iranian woman Mahsa Amini after her arrest by morality police for being in violation of Iran’s dress code on...
Cinematic Bottom-Feeding: Why It’s OK to Love Bad Movies, by Matthew Strohl Sam Woolfe May 2023 Book Reviews This is a book I didn’t know I needed. But I’m interested in both philosophy and bad movies, so when I found out there was a book making a philosophic...
The Last Musical Show: Peter Bogdanovich’s At Long Last Love (1975) Dana Polan June 2023 CTEQ Annotations on Film Throughout the New Hollywood of the late 1960s into the 1970s, two filmmaking desires of auteur directors (usually male) sometimes combined: to realis...
The Mysterious Authenticity of Peter Bogdanovich’s Saint Jack (1979) Ben Slater June 2023 CTEQ Annotations on Film There’s a scene in Saint Jack (Peter Bogdanovich, 1979) when Jack Flowers, played with charm and grace by Ben Gazzara, returns to the Singapore Chinat...
“Don’t you know the meaning of propriety?”: Screwball Comedy and Peter Bogdanovich’s What’s Up, Doc? (1972) Eloise Ross June 2023 CTEQ Annotations on Film Watch the trailer for What’s Up, Doc? (1972) and you are likely to learn quite a lot about the director, Peter Bogdanovich, and the era that the film ...
“Why Don’t You Love Me (Like You Used To Do)?”: Peter Bogdanovich’s The Last Picture Show (1971) Adrian Danks June 2023 CTEQ Annotations on Film It begins and ends outside the movies. Peter Bogdanovich’s sophomore feature, The Last Picture Show (1971), is a clear-eyed portrait of a small North ...
“Is that what I was afraid of?” New and Old Fears in Peter Bogdanovich’s Targets (1968) Jacob Agius June 2023 CTEQ Annotations on Film Peter Bogdanovich’s debut feature, Targets (1968), is a left-of-centre horror film that initially seems to stand out as an anomaly within his filmogra...
Days (Tsai Ming-liang, 2020) Jacob Agius May 2023 CTEQ Annotations on Film Rizi (Days, 2020) marked a return to narrative feature filmmaking for Taiwanese auteur Tsai Ming-Liang after an almost decade long sojourn making vide...
Afflictions of Pain and Desire: The River (Tsai Ming-liang, 1997) Alex Williams May 2023 CTEQ Annotations on Film A film crew is assembled at the bank of a river, struggling to make a mannequin look like a real dead body. The figure lies face-down in the grey wate...
The Wayward Cloud (Tsai Ming-liang, 2005) Amelia Leonard May 2023 CTEQ Annotations on Film Presenting as a bizarre jigsaw puzzle of slow cinema motifs, surrealist musical numbers, a looming climate crisis, and highly explicit sex, Tsai Ming-...
Goodbye, Dragon Inn (Tsai Ming-liang, 2003) Andrew Le May 2023 CTEQ Annotations on Film People our age have the collective experience of moviegoing, but today the experience is different with DVD, satellite, etc. You see these major chang...
The Skywalk is Gone (Tsai Ming-liang, 2002) Digby Houghton May 2023 CTEQ Annotations on Film Tsai Ming-Liang’s Tian qiao bu jian le (The Skywalk is Gone, 2002; Skywalk from here on) is a short film bridging his previous and subsequent features...
What Time is it There? (Tsai Ming-liang, 2001) Jessica Balanzategui May 2023 CTEQ Annotations on Film The turn of the 21st century in Taiwan was marked, as in most countries, by intense fears of the “millennium bug”. This “Y2K” bug would supposedly lea...
The Cost of Living: Bill Mousoulis’ Lovesick (2002) Jake Wilson May 2023 CTEQ Annotations on Film “If a viewer understands the story and characters fully, then I have failed.” – Bill Mousoulis on Lovesick Those were the days, when you could h...
A Poetic Kind of Realism: Bill Mousoulis’ Dreams Never End (1983) Fiona Villella May 2023 CTEQ Annotations on Film In a career that spans more than 40 years and includes over 100 films, Dreams Never End was made by Bill Mousoulis just two years into his life as a f...
“Stick around. You make it all so nice and sad”: Fatalism and Fantasy in Robert Siodmak’s Criss Cross (1949) Alexia Kannas April 2023 CTEQ Annotations on Film Robert Siodmak’s Criss Cross (1949) stands as one of the most bleakly romantic and fatalistic films noir of the classical era. In it, Burt Lancaster p...
“In his element”: Burt Lancaster and The Train (John Frankenheimer, 1964) Djoymi Baker April 2023 CTEQ Annotations on Film The Train (John Frankenheimer, 1964) is based on the memoir of Rose Valland, Le front de l’art: Défenses des collection Françaises, 1939-1945, in whic...
No Sex Life in the Grave: Conversation Piece (Luchino Visconti, 1974) or Gruppo di famiglia in un interno David Melville April 2023 CTEQ Annotations on Film But thou, dear, hide my body with thy veil, And with thy raiment cover foot and head… And now for God’s sake kiss me once and twice And let me go; ...
“I used to believe in things”: On Frank and Eleanor Perry’s The Swimmer (1968) Eloise Ross April 2023 CTEQ Annotations on Film My films are actors’ films, films of human relationships. I never think, “How can I dazzle the audience with my camera?” I want to dazzle them with th...
“Match me, Sidney”: Burt Lancaster and the Sweet Smell of Success (Alexander Mackendrick, 1957) Adrian Danks April 2023 CTEQ Annotations on Film Sweet Smell of Success (1957) is a landmark in the careers of actors Burt Lancaster and Tony Curtis, screenwriter Clifford Odets, and director Alexand...
The Grey Fox and the Platinum Blonde: Marilyn Monroe in Howard Hawks’ Monkey Business (1952) Andréas Giannopoulos April 2023 CTEQ Annotations on Film “She’s as phony as a three dollar bill, and you’re trying to make her real”, director Howard Hawks told 20th Century-Fox executive Darryl F. Zanuck af...
Always an Angel, Never a God: Marilyn Monroe and Self-Determination in Bus Stop Claire White April 2023 CTEQ Annotations on Film The first time you see Marilyn Monroe as Chérie, the hillbilly chanteuse, she is sitting in a window having a quiet moment to herself. With her leg co...
“We’re All Dying”: The Misfits as Haunted Film Ivana Brehas April 2023 CTEQ Annotations on Film What’s recorded by the camera is at least metaphorically, a ghost of something that was once as it appears in the picture but is no more. And so that...
Cyclo (Tran Anh Hung, 1995) Andrew Le April 2023 CTEQ Annotations on Film When describing the emotion he puts into his work, director Trần Anh Hùng states that he wants audiences to be able to understand his overall life per...
Pickpocket (Robert Bresson, 1959) Emma Fajgenbaum March 2023 CTEQ Annotations on Film Robert Bresson described Pickpocket (1959), his fifth feature, as an “impatient film”. It took him only three months to outline a treatment, six weeks...
