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SENSES OF CINEMA
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. Senses of Cinema was founded on stolen lands. We acknowledge the sovereignty of the Wurundjeri and Boon Wurrung people of the Kulin nation and support all Aboriginal people on their JOURNALS – SENSES OF CINEMA 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. Senses of Cinema was founded on stolen lands. We acknowledge the sovereignty of the Wurundjeri and Boon Wurrung people of the Kulin nation and support all Aboriginal people on their ISSUE 98 – SENSES OF CINEMA 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. Senses of Cinema was founded on stolen lands. We acknowledge the sovereignty of the Wurundjeri and Boon Wurrung people of the Kulin nation and support all Aboriginal people on theirDEAR CINEMA
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. Senses of Cinema was founded on stolen lands. We acknowledge the sovereignty of the Wurundjeri and Boon Wurrung people of the Kulin nation and support all Aboriginal people on their SALÒ, OR THE 120 DAYS OF SODOM Salò, or the 120 Days of Sodom. It appears to me that there is still a tendency among reviewers and film scholars to regard Pier Paolo Pasolini’s final masterpiece, Salò o le 120 giornate de Sodoma ( Salò, or the 120 Days of Sodom, 1975), as a “last testament” rather than a prelude to a new phase of work, which Pasolini, by allVIVRE SA VIE
Vivre sa vie (My Life to Live) (1962, France, 85 mins). Source: CAC Prod. Co: Films De La Pléïade Prod: Pierre Braunberger Dir, Scr: Jean-Luc Godard, based on an article by Judge Marcel Sacotte Photography: Raoul Coutard, Claude Beausoleil, Charles Bitsch Editor: Agnès Guillemot, Lila Lakshmann Music: Michel Legrand Cast: Anna Karina, Sady Rebbot, Andre-S. Labarthe, Guylaine SchumbergerRAY, SATYAJIT
Ray, Satyajit. b. May 2, 1921, Calcutta, India. d. April 23, 1992, Calcutta, India. Satyajit Ray was born in Calcutta into an exceptionally talented family who were prominent in Bengali arts and letters. His father died when he was an infant and his mother and her younger brother’s family brought him up.L’ÂGE D’OR
L’Âge d’Or is an intricate web of correspondences where characters, situations and motifs metamorphose across the screen. Like the displacement of desire onto psychosomatic tics, this probably derives from Buñuel’s reading of Freud, in this case the idea of condensation, where disparate phenomena morph in the mind of thedreamer.
POSTCOLONIAL CINEMA: CHOCOLAT Postcolonial Cinema: Chocolat. Postcolonialism is a contemporary sensibility, which in general terms, foregrounds elements of difference, heterogeneity and pluralism. It involves a deconstruction of ‘grand narratives’ of history, modernisation and progress, and a recognition and celebration of difference and ‘unspoken’narratives.
3RD WORLD HERO: RIZAL AND COLONIAL CLERICAL POWER THROUGH The Philippines celebrated the centennial of its independence in 1998 and a nationalistic wave swept the country. Philippine cinema rode the crest with films on revered national hero Dr Jose P. Rizal , the most notable of which was Jose Rizal by acclaimed director Marilou Diaz-Abaya. A record-breaking (by Philippine standards), US$2 million biographical epic, Jose Rizal went on to become theSENSES OF CINEMA
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. Senses of Cinema was founded on stolen lands. We acknowledge the sovereignty of the Wurundjeri and Boon Wurrung people of the Kulin nation and support all Aboriginal people on their JOURNALS – SENSES OF CINEMA 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. Senses of Cinema was founded on stolen lands. We acknowledge the sovereignty of the Wurundjeri and Boon Wurrung people of the Kulin nation and support all Aboriginal people on their ISSUE 98 – SENSES OF CINEMA 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. Senses of Cinema was founded on stolen lands. We acknowledge the sovereignty of the Wurundjeri and Boon Wurrung people of the Kulin nation and support all Aboriginal people on theirDEAR CINEMA
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. Senses of Cinema was founded on stolen lands. We acknowledge the sovereignty of the Wurundjeri and Boon Wurrung people of the Kulin nation and support all Aboriginal people on their SALÒ, OR THE 120 DAYS OF SODOM Salò, or the 120 Days of Sodom. It appears to me that there is still a tendency among reviewers and film scholars to regard Pier Paolo Pasolini’s final masterpiece, Salò o le 120 giornate de Sodoma ( Salò, or the 120 Days of Sodom, 1975), as a “last testament” rather than a prelude to a new phase of work, which Pasolini, by allVIVRE SA VIE
Vivre sa vie (My Life to Live) (1962, France, 85 mins). Source: CAC Prod. Co: Films De La Pléïade Prod: Pierre Braunberger Dir, Scr: Jean-Luc Godard, based on an article by Judge Marcel Sacotte Photography: Raoul Coutard, Claude Beausoleil, Charles Bitsch Editor: Agnès Guillemot, Lila Lakshmann Music: Michel Legrand Cast: Anna Karina, Sady Rebbot, Andre-S. Labarthe, Guylaine SchumbergerRAY, SATYAJIT
Ray, Satyajit. b. May 2, 1921, Calcutta, India. d. April 23, 1992, Calcutta, India. Satyajit Ray was born in Calcutta into an exceptionally talented family who were prominent in Bengali arts and letters. His father died when he was an infant and his mother and her younger brother’s family brought him up.L’ÂGE D’OR
L’Âge d’Or is an intricate web of correspondences where characters, situations and motifs metamorphose across the screen. Like the displacement of desire onto psychosomatic tics, this probably derives from Buñuel’s reading of Freud, in this case the idea of condensation, where disparate phenomena morph in the mind of thedreamer.
POSTCOLONIAL CINEMA: CHOCOLAT Postcolonial Cinema: Chocolat. Postcolonialism is a contemporary sensibility, which in general terms, foregrounds elements of difference, heterogeneity and pluralism. It involves a deconstruction of ‘grand narratives’ of history, modernisation and progress, and a recognition and celebration of difference and ‘unspoken’narratives.
3RD WORLD HERO: RIZAL AND COLONIAL CLERICAL POWER THROUGH The Philippines celebrated the centennial of its independence in 1998 and a nationalistic wave swept the country. Philippine cinema rode the crest with films on revered national hero Dr Jose P. Rizal , the most notable of which was Jose Rizal by acclaimed director Marilou Diaz-Abaya. A record-breaking (by Philippine standards), US$2 million biographical epic, Jose Rizal went on to become theSENSES OF CINEMA
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. Senses of Cinema was founded on stolen lands. We acknowledge the sovereignty of the Wurundjeri and Boon Wurrung people of the Kulin nation and support all Aboriginal people on theirTHE GENERAL
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. Senses of Cinema was founded on stolen lands. We acknowledge the sovereignty of the Wurundjeri and Boon Wurrung people of the Kulin nation and support all Aboriginal people on theirCHRIS FUJIWARA
Chris Fujiwara. Chris Fujiwara is a film critic and programmer who has written several books on cinema, including Jacques Tourneur: The Cinema of Nightfall (2001), The World and Its Double: The Life and Work of Otto Preminger (2007), and Jerry Lewis (2008). He also edited the book Defining Moments in Movies (2007). He has lectured on film aesthetics and film history at Tokyo University, Yale CTEQ ANNOTATIONS ON FILM Boy with Flag and Black British experience in Akomfrah’s Handsworth Songs and McQueen’s Red, White and BlueRAY, SATYAJIT
Ray, Satyajit. b. May 2, 1921, Calcutta, India. d. April 23, 1992, Calcutta, India. Satyajit Ray was born in Calcutta into an exceptionally talented family who were prominent in Bengali arts and letters. His father died when he was an infant and his mother and her younger brother’s family brought him up. ROCCO AND HIS BROTHERS Directed by the unique figure of Luchino Visconti – heir to one of Milan’s richest families, a communist, and gay – Rocco e i suoi fratelli (Rocco and his Brothers) was one of three huge Italian films released in 1960 along with Michelangelo Antonioni’s L’avventura and Federico Fellini’s La dolce vita.Visconti’s work was always “excessive” in tone and scope, but with Rocco we 1969: WE (ARTAVAZD PELESHIAN) The motif of energy conversion infuses the formal structure of Artavazd Peleshian’s film My ( We, 1969). Assimilating two basic laws of thermodynamics, movement, pressure, temperature smelt images down to refined, low entropy nuggets of kinetic exhortation. Huge telluric chunks smash into jarring seventh brass chords, each onecoded explosion
I VITELLONI
Endnotes. Part Two of Scorsese’s documentary deals with the stylistic advances made by such filmmakers as Luchino Visconti, Michelangelo Antonioni and Fellini, with the latter’s works, most notably I Vitelloni, having a particularly important impact on Scorsese’s work.; Peter Bondanella, The Cinema of Federico Fellini, Princeton University Press, Princeton, 1992, p.CHAPLIN, CHARLES
James L. Neibaur is a film historian who has published over 20 books and hundreds of articles including over 40 essays in the Encyclopedia Brittanica.His books include Chaplin at Essanay, Buster Keaton’s Silent Shorts (with Terri Niemi), The Jerry Lewis Films (with Ted Okuda), The Clint Eastwood Westerns, The W.C. Fields Films, The Essential Jack Nicholson, and The Monster Movies of POSTCOLONIAL CINEMA: CHOCOLAT Postcolonial Cinema: Chocolat. Postcolonialism is a contemporary sensibility, which in general terms, foregrounds elements of difference, heterogeneity and pluralism. It involves a deconstruction of ‘grand narratives’ of history, modernisation and progress, and a recognition and celebration of difference and ‘unspoken’narratives.
SENSES OF CINEMA
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. Senses of Cinema was founded on stolen lands. We acknowledge the sovereignty of the Wurundjeri and Boon Wurrung people of the Kulin nation and support all Aboriginal people on theirCHRIS FUJIWARA
Chris Fujiwara. Chris Fujiwara is a film critic and programmer who has written several books on cinema, including Jacques Tourneur: The Cinema of Nightfall (2001), The World and Its Double: The Life and Work of Otto Preminger (2007), and Jerry Lewis (2008). He also edited the book Defining Moments in Movies (2007). He has lectured on film aesthetics and film history at Tokyo University, Yale ROCCO AND HIS BROTHERS Directed by the unique figure of Luchino Visconti – heir to one of Milan’s richest families, a communist, and gay – Rocco e i suoi fratelli (Rocco and his Brothers) was one of three huge Italian films released in 1960 along with Michelangelo Antonioni’s L’avventura and Federico Fellini’s La dolce vita.Visconti’s work was always “excessive” in tone and scope, but with Rocco we 1924: STRIKE (SERGEI EISENSTEIN) The Master’s Debut: Strike (Sergei Eisenstein, 1924) As Eisenstein himself described it years later, Stachka ( Strike, 1924) had been “Awkward. Angular. Surprising. Bold. It contains the seeds of nearly all the elements that, in more mature form, appear in my works of later years. It is a typical ‘first’ work,’ bristly andpugnacious
WHAT MY FINGERS KNEW: THE CINESTHETIC SUBJECT, OR VISION What My Fingers Knew: The Cinesthetic Subject, or Vision in the Flesh. This is a chapter from a forthcoming book of collected essays by Vivian Sobchack. It shares ideas with a paper given at the Special Effects/Special Affects: Technologies of the Screen symposium held at the University of Melbourne, 25/3/2000. y body is not only anobject
THE ATOMIC CAFE
The Atomic Cafe is directed by Kevin Rafferty, Jamie Loader and Pierce Rafferty, and is a black comedy about the harrowing misinformation surrounding the government’s acquisition, development and testing of both the atomic and hydrogen bombs. Edited by Jayne Loader and Kevin Rafferty, the film is an “artfully assembled collage of official POSTCOLONIAL CINEMA: CHOCOLAT Postcolonial Cinema: Chocolat. Postcolonialism is a contemporary sensibility, which in general terms, foregrounds elements of difference, heterogeneity and pluralism. It involves a deconstruction of ‘grand narratives’ of history, modernisation and progress, and a recognition and celebration of difference and ‘unspoken’narratives.
VIVRE SA VIE
Vivre sa vie (My Life to Live) (1962, France, 85 mins). Source: CAC Prod. Co: Films De La Pléïade Prod: Pierre Braunberger Dir, Scr: Jean-Luc Godard, based on an article by Judge Marcel Sacotte Photography: Raoul Coutard, Claude Beausoleil, Charles Bitsch Editor: Agnès Guillemot, Lila Lakshmann Music: Michel Legrand Cast: Anna Karina, Sady Rebbot, Andre-S. Labarthe, Guylaine Schumberger THE CODE OF THE MISSION (JOHNNIE TO, 1999) The Code of. The Mission. (Johnnie To, 1999) Stephen Teo. November 2001. Hong Kong. Issue 17. In the eyes of the world, the Hong Kong gangster picture is quintessentially Hong Kong: tough, fast-moving, full of action, and much more – an attitude on action. The films of John Woo are often cited as some of the finest examples in the genre. 3RD WORLD HERO: RIZAL AND COLONIAL CLERICAL POWER THROUGH The Philippines celebrated the centennial of its independence in 1998 and a nationalistic wave swept the country. Philippine cinema rode the crest with films on revered national hero Dr Jose P. Rizal , the most notable of which was Jose Rizal by acclaimed director Marilou Diaz-Abaya. A record-breaking (by Philippine standards), US$2 million biographical epic, Jose Rizal went on to become theSENSES OF CINEMA
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. Senses of Cinema was founded on stolen lands. We acknowledge the sovereignty of the Wurundjeri and Boon Wurrung people of the Kulin nation and support all Aboriginal people on theirCHRIS FUJIWARA
Chris Fujiwara. Chris Fujiwara is a film critic and programmer who has written several books on cinema, including Jacques Tourneur: The Cinema of Nightfall (2001), The World and Its Double: The Life and Work of Otto Preminger (2007), and Jerry Lewis (2008). He also edited the book Defining Moments in Movies (2007). He has lectured on film aesthetics and film history at Tokyo University, Yale ROCCO AND HIS BROTHERS Directed by the unique figure of Luchino Visconti – heir to one of Milan’s richest families, a communist, and gay – Rocco e i suoi fratelli (Rocco and his Brothers) was one of three huge Italian films released in 1960 along with Michelangelo Antonioni’s L’avventura and Federico Fellini’s La dolce vita.Visconti’s work was always “excessive” in tone and scope, but with Rocco we 1924: STRIKE (SERGEI EISENSTEIN) The Master’s Debut: Strike (Sergei Eisenstein, 1924) As Eisenstein himself described it years later, Stachka ( Strike, 1924) had been “Awkward. Angular. Surprising. Bold. It contains the seeds of nearly all the elements that, in more mature form, appear in my works of later years. It is a typical ‘first’ work,’ bristly andpugnacious
WHAT MY FINGERS KNEW: THE CINESTHETIC SUBJECT, OR VISION What My Fingers Knew: The Cinesthetic Subject, or Vision in the Flesh. This is a chapter from a forthcoming book of collected essays by Vivian Sobchack. It shares ideas with a paper given at the Special Effects/Special Affects: Technologies of the Screen symposium held at the University of Melbourne, 25/3/2000. y body is not only anobject
THE ATOMIC CAFE
The Atomic Cafe is directed by Kevin Rafferty, Jamie Loader and Pierce Rafferty, and is a black comedy about the harrowing misinformation surrounding the government’s acquisition, development and testing of both the atomic and hydrogen bombs. Edited by Jayne Loader and Kevin Rafferty, the film is an “artfully assembled collage of official POSTCOLONIAL CINEMA: CHOCOLAT Postcolonial Cinema: Chocolat. Postcolonialism is a contemporary sensibility, which in general terms, foregrounds elements of difference, heterogeneity and pluralism. It involves a deconstruction of ‘grand narratives’ of history, modernisation and progress, and a recognition and celebration of difference and ‘unspoken’narratives.
VIVRE SA VIE
Vivre sa vie (My Life to Live) (1962, France, 85 mins). Source: CAC Prod. Co: Films De La Pléïade Prod: Pierre Braunberger Dir, Scr: Jean-Luc Godard, based on an article by Judge Marcel Sacotte Photography: Raoul Coutard, Claude Beausoleil, Charles Bitsch Editor: Agnès Guillemot, Lila Lakshmann Music: Michel Legrand Cast: Anna Karina, Sady Rebbot, Andre-S. Labarthe, Guylaine Schumberger THE CODE OF THE MISSION (JOHNNIE TO, 1999) The Code of. The Mission. (Johnnie To, 1999) Stephen Teo. November 2001. Hong Kong. Issue 17. In the eyes of the world, the Hong Kong gangster picture is quintessentially Hong Kong: tough, fast-moving, full of action, and much more – an attitude on action. The films of John Woo are often cited as some of the finest examples in the genre. 3RD WORLD HERO: RIZAL AND COLONIAL CLERICAL POWER THROUGH The Philippines celebrated the centennial of its independence in 1998 and a nationalistic wave swept the country. Philippine cinema rode the crest with films on revered national hero Dr Jose P. Rizal , the most notable of which was Jose Rizal by acclaimed director Marilou Diaz-Abaya. A record-breaking (by Philippine standards), US$2 million biographical epic, Jose Rizal went on to become theSENSES OF CINEMA
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. Senses of Cinema was founded on stolen lands. We acknowledge the sovereignty of the Wurundjeri and Boon Wurrung people of the Kulin nation and support all Aboriginal people on their ISSUE 98 – SENSES OF CINEMA 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. Senses of Cinema was founded on stolen lands. We acknowledge the sovereignty of the Wurundjeri and Boon Wurrung people of the Kulin nation and support all Aboriginal people on their THE YEAR OF LIVING DANGEROUSLY (1982) Boy with Flag and Black British experience in Akomfrah’s Handsworth Songs and McQueen’s Red, White and BlueCHRIS FUJIWARA
Chris Fujiwara. Chris Fujiwara is a film critic and programmer who has written several books on cinema, including Jacques Tourneur: The Cinema of Nightfall (2001), The World and Its Double: The Life and Work of Otto Preminger (2007), and Jerry Lewis (2008). He also edited the book Defining Moments in Movies (2007). He has lectured on film aesthetics and film history at Tokyo University, YaleTHE THINGS OF LIFE
Boy with Flag and Black British experience in Akomfrah’s Handsworth Songs and McQueen’s Red, White and Blue CTEQ ANNOTATIONS ON FILM Boy with Flag and Black British experience in Akomfrah’s Handsworth Songs and McQueen’s Red, White and Blue LAURA: NOIR OF IDENTITY AND ILLUSION Laura. : Noir of Identity and Illusion. In Billy Wilder’s Double Indemnity (1944), the murder of Tom Powers’ character is built up through the two lovers/killers’ plans. And yet the scheme could be all talk if it weren’t for the opening confession of Walter Neff (Fred MacMurray). When we witness the killing, famously heightened bya
MARTIN SCORSESE’S BRINGING OUT THE DEAD There is a curious flaw in the conception of how the film overall should look and sound; a strange misjudgment of style found throughout, and noticable from the start. Bringing Out the Dead lacks a sense of proportion-a ratio of the kind that would have sharpened the edges of its situation and lent the crisis of the leading character conviction. BITUMEN MUSIC: WALTER HILL’S THE DRIVER (1978) John Edmond is an academic and curator. He is the Director of the Queensland Film Festival and an Associate Curator (film) at UQ Art Museum. Edmond is the author of a forthcoming monograph on Ken Russell’s Altered States, and co-editor of two volumes on the works of Valérie Massadian, and Hélène Cattet & Bruno Forzani. OBJECTS OF MEMORY IN CONTEMPORARY CATALAN DOCUMENTARIES Endnotes. Paolo Cherchi Usai, The Death of Cinema: History, Cultural Memory and the Digital Dark Age (London: British Film Institute, 2001), p. 1. For further discussion of representation, reality and authenticity see Bill Nichols, Representing Reality (Bloomington and Indianapolis: Indiana University Press, 1991). For a comprehensive approach to this facet of Deleuze’s work and its use inSENSES OF CINEMA
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. Senses of Cinema was founded on stolen lands. We acknowledge the sovereignty of the Wurundjeri and Boon Wurrung people of the Kulin nation and support all Aboriginal people on their JOURNALS – SENSES OF CINEMA 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. Senses of Cinema was founded on stolen lands. We acknowledge the sovereignty of the Wurundjeri and Boon Wurrung people of the Kulin nation and support all Aboriginal people on theirVIVRE SA VIE
Vivre sa vie (My Life to Live) (1962, France, 85 mins). Source: CAC Prod. Co: Films De La Pléïade Prod: Pierre Braunberger Dir, Scr: Jean-Luc Godard, based on an article by Judge Marcel Sacotte Photography: Raoul Coutard, Claude Beausoleil, Charles Bitsch Editor: Agnès Guillemot, Lila Lakshmann Music: Michel Legrand Cast: Anna Karina, Sady Rebbot, Andre-S. Labarthe, Guylaine Schumberger CHARULATA: THE INTIMACIES OF A BROKEN NEST Endnotes. Andrew Robinson, Satyajit Ray: The Inner Eye, Rupa, New Delhi, 1989, p.9. Satyajit Ray, Our Films, Their Films, Orient Longman, New Delhi, 1976, p.57. Ben Nyce, Satyajit Ray: A Study of His Films, Praeger, New York and London, 1988, p.94. Bhadralok is a Bengali term for the 19th century bourgeois elite whose exposure to European literature, philosophy and science bred a profoundRAY, SATYAJIT
Ray, Satyajit. b. May 2, 1921, Calcutta, India. d. April 23, 1992, Calcutta, India. Satyajit Ray was born in Calcutta into an exceptionally talented family who were prominent in Bengali arts and letters. His father died when he was an infant and his mother and her younger brother’s family brought him up. “CINEMATIC COMRADES”: BONG JOON-HO’S AUTEURISM AND SONG Bong Joon-ho Bong Joon-ho’s auteurism is defined by his rich artistic collaboration with the star-actor Song Kang-ho – a lengthy and productive creative partnership between filmmaker and lead actor that is reminiscent of Akira Kurosawa and Toshiro Mifune, Satyajit Ray and Soumitra Chatterjee (whose recent death has been mourned in India SALÒ, OR THE 120 DAYS OF SODOM Salò, or the 120 Days of Sodom. It appears to me that there is still a tendency among reviewers and film scholars to regard Pier Paolo Pasolini’s final masterpiece, Salò o le 120 giornate de Sodoma ( Salò, or the 120 Days of Sodom, 1975), as a “last testament” rather than a prelude to a new phase of work, which Pasolini, by all POSTCOLONIAL CINEMA: CHOCOLAT Postcolonial Cinema: Chocolat. Postcolonialism is a contemporary sensibility, which in general terms, foregrounds elements of difference, heterogeneity and pluralism. It involves a deconstruction of ‘grand narratives’ of history, modernisation and progress, and a recognition and celebration of difference and ‘unspoken’narratives.
WHAT MY FINGERS KNEW: THE CINESTHETIC SUBJECT, OR VISION What My Fingers Knew: The Cinesthetic Subject, or Vision in the Flesh. This is a chapter from a forthcoming book of collected essays by Vivian Sobchack. It shares ideas with a paper given at the Special Effects/Special Affects: Technologies of the Screen symposium held at the University of Melbourne, 25/3/2000. y body is not only anobject
3RD WORLD HERO: RIZAL AND COLONIAL CLERICAL POWER THROUGH The Philippines celebrated the centennial of its independence in 1998 and a nationalistic wave swept the country. Philippine cinema rode the crest with films on revered national hero Dr Jose P. Rizal , the most notable of which was Jose Rizal by acclaimed director Marilou Diaz-Abaya. A record-breaking (by Philippine standards), US$2 million biographical epic, Jose Rizal went on to become theSENSES OF CINEMA
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. Senses of Cinema was founded on stolen lands. We acknowledge the sovereignty of the Wurundjeri and Boon Wurrung people of the Kulin nation and support all Aboriginal people on their JOURNALS – SENSES OF CINEMA 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. Senses of Cinema was founded on stolen lands. We acknowledge the sovereignty of the Wurundjeri and Boon Wurrung people of the Kulin nation and support all Aboriginal people on theirVIVRE SA VIE
Vivre sa vie (My Life to Live) (1962, France, 85 mins). Source: CAC Prod. Co: Films De La Pléïade Prod: Pierre Braunberger Dir, Scr: Jean-Luc Godard, based on an article by Judge Marcel Sacotte Photography: Raoul Coutard, Claude Beausoleil, Charles Bitsch Editor: Agnès Guillemot, Lila Lakshmann Music: Michel Legrand Cast: Anna Karina, Sady Rebbot, Andre-S. Labarthe, Guylaine Schumberger CHARULATA: THE INTIMACIES OF A BROKEN NEST Endnotes. Andrew Robinson, Satyajit Ray: The Inner Eye, Rupa, New Delhi, 1989, p.9. Satyajit Ray, Our Films, Their Films, Orient Longman, New Delhi, 1976, p.57. Ben Nyce, Satyajit Ray: A Study of His Films, Praeger, New York and London, 1988, p.94. Bhadralok is a Bengali term for the 19th century bourgeois elite whose exposure to European literature, philosophy and science bred a profoundRAY, SATYAJIT
Ray, Satyajit. b. May 2, 1921, Calcutta, India. d. April 23, 1992, Calcutta, India. Satyajit Ray was born in Calcutta into an exceptionally talented family who were prominent in Bengali arts and letters. His father died when he was an infant and his mother and her younger brother’s family brought him up. “CINEMATIC COMRADES”: BONG JOON-HO’S AUTEURISM AND SONG Bong Joon-ho Bong Joon-ho’s auteurism is defined by his rich artistic collaboration with the star-actor Song Kang-ho – a lengthy and productive creative partnership between filmmaker and lead actor that is reminiscent of Akira Kurosawa and Toshiro Mifune, Satyajit Ray and Soumitra Chatterjee (whose recent death has been mourned in India SALÒ, OR THE 120 DAYS OF SODOM Salò, or the 120 Days of Sodom. It appears to me that there is still a tendency among reviewers and film scholars to regard Pier Paolo Pasolini’s final masterpiece, Salò o le 120 giornate de Sodoma ( Salò, or the 120 Days of Sodom, 1975), as a “last testament” rather than a prelude to a new phase of work, which Pasolini, by all POSTCOLONIAL CINEMA: CHOCOLAT Postcolonial Cinema: Chocolat. Postcolonialism is a contemporary sensibility, which in general terms, foregrounds elements of difference, heterogeneity and pluralism. It involves a deconstruction of ‘grand narratives’ of history, modernisation and progress, and a recognition and celebration of difference and ‘unspoken’narratives.
WHAT MY FINGERS KNEW: THE CINESTHETIC SUBJECT, OR VISION What My Fingers Knew: The Cinesthetic Subject, or Vision in the Flesh. This is a chapter from a forthcoming book of collected essays by Vivian Sobchack. It shares ideas with a paper given at the Special Effects/Special Affects: Technologies of the Screen symposium held at the University of Melbourne, 25/3/2000. y body is not only anobject
3RD WORLD HERO: RIZAL AND COLONIAL CLERICAL POWER THROUGH The Philippines celebrated the centennial of its independence in 1998 and a nationalistic wave swept the country. Philippine cinema rode the crest with films on revered national hero Dr Jose P. Rizal , the most notable of which was Jose Rizal by acclaimed director Marilou Diaz-Abaya. A record-breaking (by Philippine standards), US$2 million biographical epic, Jose Rizal went on to become theCHRIS FUJIWARA
Chris Fujiwara. Chris Fujiwara is a film critic and programmer who has written several books on cinema, including Jacques Tourneur: The Cinema of Nightfall (2001), The World and Its Double: The Life and Work of Otto Preminger (2007), and Jerry Lewis (2008). He also edited the book Defining Moments in Movies (2007). He has lectured on film aesthetics and film history at Tokyo University, YaleRAY, SATYAJIT
Ray, Satyajit. b. May 2, 1921, Calcutta, India. d. April 23, 1992, Calcutta, India. Satyajit Ray was born in Calcutta into an exceptionally talented family who were prominent in Bengali arts and letters. His father died when he was an infant and his mother and her younger brother’s family brought him up. CTEQ ANNOTATIONS ON FILM Boy with Flag and Black British experience in Akomfrah’s Handsworth Songs and McQueen’s Red, White and BlueL’ÂGE D’OR
L’Âge d’Or is an intricate web of correspondences where characters, situations and motifs metamorphose across the screen. Like the displacement of desire onto psychosomatic tics, this probably derives from Buñuel’s reading of Freud, in this case the idea of condensation, where disparate phenomena morph in the mind of thedreamer.
THE GENERAL
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. Senses of Cinema was founded on stolen lands. We acknowledge the sovereignty of the Wurundjeri and Boon Wurrung people of the Kulin nation and support all Aboriginal people on their CHARULATA: THE INTIMACIES OF A BROKEN NEST Endnotes. Andrew Robinson, Satyajit Ray: The Inner Eye, Rupa, New Delhi, 1989, p.9. Satyajit Ray, Our Films, Their Films, Orient Longman, New Delhi, 1976, p.57. Ben Nyce, Satyajit Ray: A Study of His Films, Praeger, New York and London, 1988, p.94. Bhadralok is a Bengali term for the 19th century bourgeois elite whose exposure to European literature, philosophy and science bred a profound ROCCO AND HIS BROTHERS Directed by the unique figure of Luchino Visconti – heir to one of Milan’s richest families, a communist, and gay – Rocco e i suoi fratelli (Rocco and his Brothers) was one of three huge Italian films released in 1960 along with Michelangelo Antonioni’s L’avventura and Federico Fellini’s La dolce vita.Visconti’s work was always “excessive” in tone and scope, but with Rocco weTHE ATOMIC CAFE
The Atomic Cafe is directed by Kevin Rafferty, Jamie Loader and Pierce Rafferty, and is a black comedy about the harrowing misinformation surrounding the government’s acquisition, development and testing of both the atomic and hydrogen bombs. Edited by Jayne Loader and Kevin Rafferty, the film is an “artfully assembled collage of official WHAT MY FINGERS KNEW: THE CINESTHETIC SUBJECT, OR VISION What My Fingers Knew: The Cinesthetic Subject, or Vision in the Flesh. This is a chapter from a forthcoming book of collected essays by Vivian Sobchack. It shares ideas with a paper given at the Special Effects/Special Affects: Technologies of the Screen symposium held at the University of Melbourne, 25/3/2000. y body is not only anobject
ABOUT SAUTE MA VILLE (1968), CHANTAL AKERMAN’S FIRST FILM “Look at a painting, read a book, have fun and here we go!” – Chantal Akerman in the documentary Chantal Akerman, écrivain de cinéma by Nicole Witart (1993) A pungent and tragicomic critique of domestic life and the literal explosion of the so-called ‘feminine universe’, Saute ma ville (1968), the first short film by Chantal Akerman, then 18, allows each of us to identify with theSearch
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WELCOME TO ISSUE 91 OF OUR JOURNAL! Peter Strickland, Boyhood, women in the gangster film, Magic Mike XXL, Abel Ferrara, Stanley Kubrick, Elaine May, Kathryn Bigelow, John Huston, Oliver Stone, Cannes, Jeonju, Flare London and much more!*
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