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Before the Revolution“Mange ta soupe”: Introduction to the Bourseillers on Jean-Luc Godard by Sally ShaftoPublished here for the first time in English, translator Sally Shafto provides a brief context for the two pieces that follow by Antoine and Christophe Bourseiller on their encounters with Godard.“1963-1968. Paris: The Godard Years” by Antoine BourseillerA chapter from Bourseiller’s memoir Sans relâche: Histoires d’une vie which offers a rich and moving account of his friendship with Godard.Excerpts from L’Aventure moderne by Christophe BourseillerSome salient passages from Christophe Bourseiller’s memoirs on growing up in the 1960s. Christophe is one-time child actor for Godard, Maoist and Situationist.Vivre sa vie: An Introduction and A to Z by Roland-François LackRoland-François Lack provides an informative lexicon to this early masterpiece by Godard.Deval in ’68: An Interview with Patrick Deval by Maximilian Le Cain and Fergus DalyThe director of Acéphale and Héraclite l’obscur looks back on the people, films and events that have shaped his work and thoughts.General ArticlesThe Saragossa Manuscript by John FidlerA new article to coincide with screenings at the Australian Centre For the Moving Image in Melbourne.Prisoners of Possibility: Robbe-Grillet’s La Belle Captive as ‘Quantum Text’ by Lisa K. BroadA detailed essay on Alain Robbe-Grillet’s René Magritte-inspired film derived from his 1975 picto-roman of the same title.John Ford Made … Monsters? The Grotesque Tradition in Ford’s Work by Phil Wagner“The grotesque æsthetic is a window into many of the unresolved contradictions in Ford’s work especially, the uneasy juxtaposition of the tragic and the comic and mankind’s perpetual battle with an unruly inner beast.” So writes Wagner, who traces the strong presence of the grotesque in Ford’s cinema.Backyard and Ross McElwee’s Observational Comedy by Derek JenkinsJenkins discusses one of McElwee’s early and seminal works, and discovers that, “Like all vérité filmmakers, he relies heavily on serendipitous events – what Dziga Vertov called ‘life caught unawares’.”Land of Promise: The British Documentary Movement 1930-1950 by Richard ArmstrongRichard Armstrong takes a look at this historically significant DVD compilation from the British Film Institute.ReminiscencesMan of Cinema: Pierre Rissient by Geoff GardnerTodd McCarthy’s recent documentary on Rissient chronicles the remarkable life of an individual devoted to cinema. Gardner offers his own thoughts on the man in question.Sydney Pollack: A Personal Recollection by Scott MurrayThe death of Sydney Pollack earlier this year affords the occasion for Senses of Cinema’s co-Editor to reflect on the man and his films.Dossier on Australian ExploitationTo celebrate the “Focus on Ozploitation” program screening of several important Australian exploitation films from the 1970s and ’80s at the Melbourne International Film Festival (MIFF), Senses of Cinema has delved back into the archives to find articles written at the time of each film’s production or release. These have been chosen to present a historical point of view in contrast with (but also to complement) the views expressed about these same films in Mark Hartley’s documentary, Not Quite Hollywood, which is having its world première at MIFF. “Focus on Ozploitation” is co-presented by MIFF and Australian Centre For the Moving Image (ACMI) and curated by Mark Hartley and ACMI. Richard Franklin: Director/Producer by Scott Murray and Tom RyanAn extensive interview originally published in 1980 with the director of the classic road-movie thriller Roadgames. Written by Everett de Roche and starring Stacy Keach and Jamie Lee Curtis.Russell Mulcahy by Jim SchembriA 1984 interview with the director of the Aussie outback baroque thriller Razorback.Long Weekend by Scott MurrayReview of the Everett de Roche-scripted ecological thriller directed by Colin Eggleston.Everett de Roche by Paul DaviesExtract from a 1980 interview with the screenwriter of Long Weekend.Turkey Shoot by Geoff MayerReview of the now infamous 1982 violent hunter-versus-hunted film directed by Brian Trenchard-Smith and produced by Antony I. Ginnane.Dead-End Drive-In by Philippa HawkerReview of Brian Trenchard-Smith’s 1986 apocalyptic thriller. One of Quentin Tarantino’s favourite Aussie movies.The Two Bazzas by Keith ConnollyCombined review of Bruce Beresford’s two early seminal comedies of the grotesque, The Adventures of Barry McKenzie and Barry McKenzie Holds His Own.From the Senses ArchivesThe Genesis of The Naked Bunyip by John B. MurrayA producer, director, screenwriter and activist for an Australian national cinema provides a first-hand socio-cultural account of the era surrounding the late 1960s-early ’70s revival in local film production.The Genesis of Libido by John B. MurrayComprehensive account of the production of this seminal 1973 portmanteau film containing contributions from directors Fred Schepisi, Tim Burstall, John B. Murray, David Baker, and writers Thomas Keneally and David Williamson, among others.Festival ReportsAniFest Destiny: The 7th AniFest: International Festival of Animated Films by Cerise HowardBAFICI at 10: Smoke Gets in Your Eyes: The 10th Buenos Aires Festival Internacional de Cine Independiente by Jay KuehnerMovement Per Mutation: A Report on the 61st Cannes Film Festival by Markus KeuschniggNew Dates, New British Films: The 62nd Edinburgh International Film Festival by Nagisa HikinoA City of Forgetting: The 32nd Hong Kong International Film Festival by Adrian DanksFrom the Margins of Japanese Cinema Culture: The 22nd Image Forum Festival by Brian CoffeyRoads of Excess, Roads of Access: A Report From the 5th IndieLisboa by Neil YoungCircling Back: The Avant-Garde Looks to the Past, and Other Small (But Substantial) Pleasures: The 37th International Film Festival Rotterdam by David SchwartzRotterdam Delights aka Asia Expanded, Russia Displayed and China Revisited: The 37th International Film Festival Rotterdam by Barbara WurmChildren of the Palais: The 25th St Kilda Film Festival by Fiona TriggConsistent Pickings But Few Difficult Pleasures: The 55th Sydney Film Festival by Hamish FordOf Common Happiness and Sorrow: The 10th Udine Film Festival by Olaf MöllerBook ReviewsAlejandro and the Academy: Anarchy and Alchemy: The Films of Alejandro Jodorowsky by Ben Cobb feature review by Margaret Barton-FumoPolanski in Motion: Roman Polanski: The Cinema of a Cultural Traveller by Ewa Mazierska review by Michael GoddardBlacksmith Blues: History, Film and the Outlaw: The Chant of Jimmie Blacksmith by Henry Reynolds review by Sean GormanThe Cinema of Small Nations edited by Mette Hjort and Duncan Petrie review by Polona PetekHitchcock’s Romantic Irony by Richard Allen review by Karen GoodmanDon’t Let Them Drag You Down: The Adventures of Priscilla, Queen of the Desert by Philip Brophy review by Diana SandarsThe Cinema Book edited by Pam Cook review by Constantine VerevisScenes from a Revolution: The Birth of the New Hollywood by Mark Harris review by Simon WeavingCinémathèque Annotations on FilmGreetings by Brian WilsonGymnasts, Homunculi and Burning Crocodiles: A Few Thoughts on If…. by David MelvilleComment je me suis disputé… (ma vie sexuelle) by Darragh O’DonoghueLa Maman et la putain by Martine PierquinMedium Cool by David SanjekPetulia, mon amour by Adrian DanksParis Doesn’t Belong to us Anymore: Arnaud Desplechin’s Absurd Theatre of Life in La Sentinelle by Adam BinghamWitches’ Hammer by Andrew LeavoldFritz LangPower and the Mythic Gaze in Fritz Lang’s Dr. Mabuse, der Spieler by Arthur RankinFury by John Fidler“Pure Artifice”: Fritz Lang’s Moonfleet by Adrian DanksWhere Dreams Go to Die: Scarlet Street by Sarah NicholsYou Only Live Once by Christopher Justice |