Welcome to Issue 86 of our journal the editors March 2018 Editorial To coincide with the Wonderland exhibition at the Australian Centre for the Moving Image running in Melbourne from 5 April to 7 October, we are thrilled to have collaborated with ACMI on a dossier focusing on t...
Some thoughts on the erotic aesthetic in Luca Guadagnino’s ‘Desire Trilogy’ Joanna Di Mattia March 2018 Feature Articles Desire is a wish; a risk; a hunger. Desire starts with an arousal that then becomes a yearning. It alters our perception and changes our molecules. To...
“A Film is a Synthesis”: An Interview with Ventura Pons Jytte Holmqvist March 2018 Feature Articles Highly prolific Catalan filmmaker Ventura Pons (born 25 July 1945) sees the world through a cinematic lens. He argues that “a film is based on three e...
Sustaining a Cinema of Modest Means: An Interview with Ted Fendt, Ricky D’Ambrose and Graham Swon Brigitta Wagner March 2018 Feature Articles Despite the controversy surrounding Dieter Kosslick’s imminent departure after a long tenure as director of the Berlin International Film Festival and...
Le Fidèle as a Postmodern Love Romance: The Flemish Crime Dramas of Michaël R. Roskam Peter Verstraten March 2018 Feature Articles Because of the almost insurmountable linguistic barrier between Flemish in Flanders and French in Wallonia, the history of twentieth-century Belgian c...
“Somehow Images are the Perfect Words”: An Interview with Amat Escalante Kristy Matheson March 2018 Feature Articles “There’s a square there, there is a world that you create inside there where anything can happen. You can create all these emotions and tell a story a...
“A Democracy of Images” John Gianvito in Conversation Thomas Austin March 2018 Feature Articles Slow-paced but urgent, John Gianvito’s incendiary nine-hour diptych For Example, The Philippines is a stunning feat of political filmmaking. Emotional...
Le Goût du crime: Notes on Gangster Style in New-Wave Paris: Part II Murray Pomerance March 2018 Feature Articles In the second instalment of his two-part article, Canadian film scholar and regular Senses of Cinema contributor Murray Pomerance continues his though...
What Would Siegfried Kracauer Say About Tom Ford’s Nocturnal Animals? Jennifer Ruth March 2018 Feature Articles This article focuses primarily on Nocturnal Animals, arguing that like movies such as The Blue Angel and M, Nocturnal Animals gives creative expressi...
Rotterdam – Delete/Ignore: locating gremlins and glitches in the machine. Or, how I met the humans and parasites of Planet IFFR Tara Judah March 2018 Festival Reports When I scroll through Instagram, I am fascinated by the ability of the interface. I am at a film festival, having what I presume to be a good time, un...
AFM/AFI FEST 2017: Magic Women, Haptic Men Bérénice Reynaud March 2018 Festival Reports – Are you going to sleep with the Chinese? – Yes, I think so. – When? – Maybe later on today. Barbara Two events made the trip worthy to the Amer...
Ânûû-rû Âboro: The Festival of Peoples’ Cinema Charles Fairbanks March 2018 Festival Reports New Caledonia may be far from the glitz and glamour of Cannes, Sundance, Venice and the rest, but that is exactly what makes the festival Ânûû-rû Âbor...
A Tale of Two Festivals: International Film Festival of India and Experimenta Parichay Patra March 2018 Festival Reports International Film Festival of India, popularly known by its acronym IFFI, rests, like many other events in South Asia, on its past glory and nostalgi...
Clouds over Berlin: A Few Remarks about German Cinema at the 68th Berlin International Film Festival Marco Abel March 2018 Festival Reports The 68th Berlin International Film Festival took place underneath two significant clouds that did not have anything to do with the films as such. Firs...
New Eastern Promises: The 21st Tallinn Black Nights Film Festival Leonardo Goi February 2018 Festival Reports “It’s called Black Nights for a reason,” previous attendees of the Tallinn Black Nights Film Festival had warned me on my way to Estonia. Named after ...
Akerman, Chantal Gwendolyn Audrey Foster February 2018 Great Directors b. 6 June 1950, Brussels, Belgium d. 5 October 2015, Paris, France “When people ask me if I am a feminist film maker, I reply I am a woman and I als...
Iron Roses: Lost Girls: The Phantasmagorgical Cinema of Jean Rollin, ed. Samm Deighan Dean Brandum March 2018 Book Reviews Like many, I was aware of the films of the French director Jean Rollin long before I viewed any of his work. It would have been some time in the mid-1...
From the Banal to the Extreme… and Back Again: Troubled Everyday: The Aesthetics of Violence and the Everyday in European Art Cinema by Alison Taylor Felicity Chaplin March 2018 Book Reviews The sustained critical success of auteur directors like Michael Haneke and Lars von Trier, the emergence in the 1990s and 2000s of the “new extremism”...
The Cinema Hypothesis: Teaching Cinema in the Classroom and Beyond, by Alain Bergala Tony McKibbin March 2018 Book Reviews If Bazin's classic essay collection was titled What is Cinema?, along comes contemporary French critic Alain Bergala asking how the subject should be ...
Re-framing the city: Slums on Screen: World Cinema and the Planet of Slums, by Igor Krstić Tim O’Farrell March 2018 Book Reviews Most academic literature on cinema uses familiar framing mechanisms such as author studies, national cinema or genre lenses. A less typical organising...
Against Auteurism: Cinéma Militant: Political Filmmaking and May 1968, by Paul Douglas Grant Michael Sandlin March 2018 Book Reviews Cinéma Militant is academic and film historian Paul Douglas Grant’s admirable attempt to recover and reconsider the long-overlooked cadre of hard-left...
Thinking Back, Thinking Forward: Utopian Television: Rossellini, Watkins, and Godard Beyond Cinema, by Michael Cramer Jonathan Wright March 2018 Book Reviews Michael Cramer’s new book, Utopian Television, is an impressively constructed work of scholarship that does more than display certain utopian trends i...
Diary of a Chambermaid Victoria Loy March 2018 CTEQ Annotations on Film Diary of a Chambermaid/Le Journal d'une Femme de Chambre (France 1964 98 mins) Source: ACMI Collections Prod Co: SPEVA Films/Cine-Alliance/Film Son...
Les Amants Patrick Garson March 2018 CTEQ Annotations on Film Les Amants (1958 France 90 mins) Source: NLA/ACMI Prod Co: Nouvelles Éditions de Films Prod: Irénée Leriche Dir: Louis Malle Scr: Louis Malle, Lou...
La Baie des Anges Lindsay Henderson March 2018 CTEQ Annotations on Film La Baie des Anges (1963 France 85 minutes) Source: CAC/NLA Prod Co: Sud-Pacifique Films Prod: Paul-Edmond Decharme Dir, Scr: Jacques Demy Ph: J...
Eva (Joseph Losey, 1962) Eloise Ross March 2018 CTEQ Annotations on Film “And the man and the woman were naked together, and were unashamed.” These words are spoken in voiceover as the camera slowly pans across Venetian w...
Shadows Darragh O’Donoghue March 2018 CTEQ Annotations on Film Shadows (John Cassavetes, 1959) is full of shadows, but the murkiest shadow cast is that of race. Famously, its precursor was an improvisation session...
Minnie and Moskowitz Jeremy Carr March 2018 CTEQ Annotations on Film On the surface, the relationship between Minnie Moore (Gena Rowlands) and Seymour Moskowitz (Seymour Cassel) doesn’t seem like a normal romantic engag...
Husbands Darragh O’Donoghue March 2018 CTEQ Annotations on Film It is tempting to see the title characters in Husbands (1970) as older versions of the trio in John Cassavetes’ breakthrough film, Shadows (1959) – ai...
Peeping Tom Peter Wilshire March 2018 CTEQ Annotations on Film Peeping Tom (1960 UK 101 mins) Source: Potential Films Prod Co: Michael Powell (Theatre) Prod, Dir: Michael Powell Scr: Leo Marks Phot: Otto Heller...
“Sudden Changes in the Weather”: Symptoms (José Ramón Larraz, 1974) Alexandra Heller-Nicholas March 2018 CTEQ Annotations on Film Catalan filmmaker José Ramón Larraz’s psychological horror film Symptoms – a UK production – was the British entry at the Cannes Film Festival in 1974...
The Eye Boundary: Repulsion Didier Truffot March 2018 CTEQ Annotations on Film Translated by Angélique Tavormina Repulsion (1965 UK 105 mins) Source: Sharmill Films Prod Co: Compton Films Prod: Gene Gutowski Dir: Roman Pola...
The Bride Wore Black (François Truffaut, 1968) Martyn Bamber March 2018 CTEQ Annotations on Film Made during the period of François Truffaut’s fascination with Alfred Hitchcock, the French auteur’s La mariée était en noir (The Bride Wore Black, 19...
Shoot the Piano Player (François Truffaut, 1960): “A Respectful Pastiche” Wheeler Winston Dixon March 2018 CTEQ Annotations on Film François Truffaut’s second feature film after his career-defining debut Les quatre cents coups (The 400 Blows, 1959), Tirez sur le pianiste (Shoot the...
La Peau douce Dan Harper March 2018 CTEQ Annotations on Film La Peau douce (1964 France 113 mins) Source: NLA/ACMI Prod Co: Les Films du Carrosse/SEDIF/SIMAR Dir: François Truffaut Scr: François Truffaut, Jea...
Fahrenheit 451 Laura Carroll March 2018 CTEQ Annotations on Film Fahrenheit 451 (1966 Britain 111 mins) Source: NFVLS Prod Co: Anglo Enterprises/Vineyard Prod: Lewis M. Allen Dir: François Truffaut Scr: François ...
The Wild Child (François Truffaut, 1970) Brad Weismann March 2018 CTEQ Annotations on Film “As I saw it, the essential task in this was not to do the directing, but to attend to the child.” – François Truffaut, introduction to The Wild Child...
“From the first bottle to the first kiss”: François Truffaut’s Small Change (1976) Danica van de Velde March 2018 CTEQ Annotations on Film Arguably one of the most enduring images in the cinema of François Truffaut is the freeze frame that concludes his first feature-length film, Les quat...
Olivia (Jacqueline Audry, 1951) Eloise Ross March 2018 CTEQ Annotations on Film Published pseudonymously in 1949 under the author name ‘Olivia’, Dorothy Bussy’s novel Olivia was likely written thanks to the influence of the 1931 G...
The Battle of Algiers (Gillo Pontecorvo, 1966) Darragh O’Donoghue March 2018 CTEQ Annotations on Film Oliver Cromwell was the 17th century leader of the English Parliamentarians who overthrew and beheaded a monarch and instituted a short-lived republic...
Get Out of the Car (Thom Andersen, 2010) Conor Bateman March 2018 CTEQ Annotations on Film They say we are living in a time of the eternal present, that has no sense of the past and no sense of the future. There is some truth to that.” - Tho...
Architecture as Mirage: Thom Andersen’s Los Angeles Plays Itself (2003) José Sarmiento-Hinojosa March 2018 CTEQ Annotations on Film In cinema, the camera is the dispositif, or the manifestation of phantasmagoria. It’s a relatively mechanical presentation of the Plato’s cave allegor...
Naked Came the Stranger: Eadweard Muybridge, Zoopraxographer (Thom Andersen, 1975) Joseph Sgammato March 2018 CTEQ Annotations on Film University courses on the history of film often begin with the photographic experiments of Eadweard Muybridge, most famously the 1878 sequence of stil...
Rehabilitating the Hollywood Left in Thom Andersen and Noël Burch’s Red Hollywood (1996/2014) Sandra E. Lim March 2018 CTEQ Annotations on Film In the opening titles, Red Hollywood (Tom Andersen and Noël Burch, 1996/2014) declares itself a compilation film. Compilation films are a form of hist...
Inside the outsider’s skin: Montgomery Clift in A Place in the Sun (1951) Joanna Di Mattia March 2018 CTEQ Annotations on Film George Stevens helmed a U.S. Army film unit for much of the Second World War. He recorded the D-Day landings, the liberation of Paris and, most import...
Red River Adrian Miles March 2018 CTEQ Annotations on Film Red River (1948 USA 127 mins) Source: CAC/NLA Prod Co: Monterey/United Artists Prod, Dir: Howard Hawks Scr: Borden Chase, Charles Schnee Ph: Russel...
The Turning of the Earth: Elia Kazan’s Wild River Adrian Danks March 2018 CTEQ Annotations on Film Although Elia Kazan is most well known for films such as A Streetcar Named Desire (1951), On the Waterfront (1954) and East of Eden (1955) that featur...
I Confess Ken Mogg March 2018 CTEQ Annotations on Film I Confess (1953 USA 95mins) Source: CAC Prod Co: Warner Brothers -First National Prod, Dir: Alfred Hitchcock Scr: George Tabori, William Archibald ...
Miss Oyu (Kenji Mizoguchi, 1951) Darragh O’Donoghue March 2018 CTEQ Annotations on Film Kenji Mizoguchi’s Miss Oyu suffocates in the aura of high art and good taste. Based on a novella by Japan’s most revered 20th century writer, it featu...
Kinuyo Tanaka’s The Eternal Breasts (1955) Gwendolyn Audrey Foster March 2018 CTEQ Annotations on Film Based on the life story of tanka poet Fumiko Nakajo (1922–1954), Kinuyo Tanaka’s Chibusa yo eien nare (The Eternal Breasts, 1955) is a remarkably femi...
Equinox Flower Michael Koller March 2018 CTEQ Annotations on Film Equinox Flower (1958 Japan 118mins) Source: NLA/CAC Prod Co: Shochiku Dir: Yasujiro Ozu Scr: Ozu, Kogo Noda from the novel by Ton Satomi Phot: Yuha...
Announcement: Senses of Cinema-Monash Essay Prize winner the editors March 2018 News We are thrilled to announce the inaugural Senses of Cinema-Monash Essay Prize awarded to the best published work in 2017 by an Australian contributor. This prize has been established in partnership with Monash ...
Alice in Wonderland: An X-Rated Musical Comedy (Bud Townsend, 1976) Justine Smith March 2018 Alice in Wonderland Blending absurdity and an off-putting childlike glee, in 1976 Bud Townsend adapted a Disney-esque “soft” hardcore porno musical of Alice in Wonderland. Produced by porn maverick Bill Osco of Flesh Gordon fame (...
A Networked Daydream: Takashi Murakami’s Superflat Monogram (2004) David Surman March 2018 Alice in Wonderland ‘Who am I, then? Tell me that first …’ Lewis Carroll’s Alice’s Adventures in Wonderland stories are about many things, but their theme of strange identity resonates today. It makes sense that an artist interest...
Abandoned Alice: Marilyn Manson’s Unmade Phantasmagoria: The Visions of Lewis Carroll Alexandra Heller-Nicholas March 2018 Alice in Wonderland This is how the story goes: iconic shock-goth-glam-rock darling Marilyn Manson once tried to make a film about Lewis Carroll and Alice’s Wonderland tales, but so outraged were the public by the trailer alone th...
Alice in the Underworld: The Dark Märchen Show!! (Mari Terashima, 2009) Anton Bitel March 2018 Alice in Wonderland In Alice's Adventures in Wonderland (1865) and Through the Looking-Glass, and What Alice Found There (1871), young Alice goes on a wide-eyed odyssey through the psychic flotsam and jetsam of nineteenth-century ...
Rebellious Alice: Claude Chabrol’s Alice ou la Dernière Fugue (1977) and Stephen Dwoskin’s The Silent Cry (1977) Darragh O’Donoghue March 2018 Alice in Wonderland Lewis Carroll’s Alice revolts against the volatile world of Wonderland by literally bringing the whole house of cards down. Not only does she go on a dangerous journey, she also returns to tell the tale. If Ali...
The Curious Tale of Psychedelic Alice: Alice in Acidland (1969) and Curious Alice (1971) Kat Ellinger March 2018 Alice in Wonderland The reason why a socially awkward, conservative Anglican Deacon and Oxford mathematician became a leading pop cultural icon in the swinging sixties is one of the most curious stories surrounding Alice in Wonder...
All Mimsy Were the Borogoves: The Spectre of Lewis Carroll in Francesco Barilli’s The Perfume of the Lady in Black (1974) Samm Deighan March 2018 Alice in Wonderland In Francesco Barilli’s Il profumo della signora in nero (The Perfume of the Lady in Black, 1974), the lonely, central figure of Silvia is played by American actress Mimsy Farmer. Not only does the character of ...
Chasing Rabbits out of the Hat and into the SHEDding of Childhood: Alice Dirk de Bruyn March 2018 Alice in Wonderland This is an abridged version of a longer article. Alice (1987 Switzerland/Czechoslovakia 86 mins) Source: ACMI/NLA Prod Co: Condor Features/Film Four International/Hessischer Rundfunk Prod: Peter-Christian F...
Alice on the Verge of a Nervous Breakdown: Norman Z. McLeod’s Alice in Wonderland (1933) Joanna Di Mattia March 2018 Alice in Wonderland ‘Will I ever get into the beautiful garden?’ Charlotte Henry’s Alice cries in frustration after she takes a drink from a bottle (‘Not poison’) that she hopes will let her fit through a very small door. Her deci...
“That’s the Great Puzzle: Who Am I?”: Jonathan Miller’s Alice in Wonderland (1966) Michelle J. Smith March 2018 Alice in Wonderland In November 1966, Mary Jean St Clair, the granddaughter of Alice Liddell, expressed anxiety about Jonathan Miller’s upcoming Alice in Wonderland adaptation for the BBC’s Christmas schedule. The descendant of th...
Forgotten Dreams: The Tumultuous Life of Lou Bunin’s Alice in Wonderland (1949) David Heslin March 2018 Alice in Wonderland Of all the films to have faced censorship battles in the English-speaking world, there are few as apparently innocuous as Alice au Pays des Merveilles (Alice in Wonderland, Lou Bunin, Dallas Bower and Marc Maur...
Alice Finds Her Voice: Pre-Code Cinema and Bud Pollard’s Alice in Wonderland (1931) Dan Golding March 2018 Alice in Wonderland Alice arrives in the land of sound cinema with a certain sangfroid: ‘I wonder if I have fallen right through the Earth?’ asks 19-year-old Ruth Gilbert, underneath a barely disguised New York accent. ‘And this i...
Fashion Wonderland: Disney, Dior and the Little Blue Dress Nadia Buick March 2018 Alice in Wonderland To consider the relationship between film and fashion is to imagine a parade of glamorous, golden-age leading ladies – Marlene Dietrich, Audrey Hepburn or Grace Kelly – all of whom are frequently given the titl...
Reverent Fidelity: Early Adaptations of Alice Pamela Hutchinson March 2018 Alice in Wonderland The first line of Lewis Carroll’s Alice’s Adventures in Wonderland sets out exactly what kind of book it will be. Young Alice, disgusted by her older sister’s reading matter, considers the pointlessness of a bo...
Introduction: The Omnipresent Alice Alexandra Heller-Nicholas March 2017 Alice in Wonderland From the very outset, the Alice tales seemed destined for a life beyond the page. Indeed, the stories themselves speak with passion and eloquence about expanding our familiar imaginative frames of reference. Al...
The Quarrel of the Dispositifs: Reprise Raymond Bellour March 2018 Cinema and the Museum In this scintillating, provocative piece – originally printed as a chapter in Raymond Bellour’s monumental work La Querelle des dispositifs (P.O.L., 2...
Crossing Boundaries: Joana Hadjithomas and Khalil Joreige’s Work in Art and Film Kate Warren March 2018 Cinema and the Museum In this contribution, an early version of which was presented at the Moving Images in Asian Art Conference at the Australian National University in 20...
Alexander Sokurov’s Francofonia: Museum Studies Alex Munt March 2018 Cinema and the Museum In this contribution, Alex Munt focuses on the third installment in Russian director Alexander Sokurov’s museum trilogy, 2016’s Francofonia, a work ...
Cinema and the Museum: Introduction Daniel Fairfax March 2018 Cinema and the Museum Since roughly the early 1980s, we have lived through a grand mutation in visual culture, one that has accompanied the socio-political transformations ...
The Loop of Belatedness: Cinema After Film in the Contemporary Art Gallery Thomas Elsaesser March 2018 Cinema and the Museum In this essay, an earlier version of which was given as the Daphne Mayo Lecture at the University of Queensland on October 8, 2014, Thomas Elsaesser e...
On Sound and Artistic Moving Images: Anri Sala’s Acoustic Territories Catherine Fowler March 2018 Cinema and the Museum In this piece, Catherine Fowler addresses one of the more neglected aspects of scholarship on moving image art, namely the role of sound. For Fowler, ...
