Senses of Cinema

20 stories

Senses of CinemaLe jour se lève: Along the noir continuum

10.10

Senses of CinemaThérèse Raquin

10.10

Senses of CinemaLes Portes de la nuit

10.10

Senses of CinemaTrouble in Paradise: Ikarie XB 1’s Music and Sound

10.05

Senses of CinemaLisa and the Devil

09.13

Senses of CinemaThe Girl Who Knew Too Much

09.13

Senses of CinemaPlayful Provocation: Hypermediacy in Mario Bava’s Danger: Diabolik

09.01

Senses of CinemaKill, Baby… Kill!

09.01

Senses of CinemaThe Faces of Mario Bava’s Black Sabbath

08.31

Senses of CinemaFilmmaking at the end of the world: The Quiet Earth

08.03

Senses of CinemaCrimes Against Reality: Speculation and the New Red Order

07.30

Senses of CinemaFeeling the Screen Story’s Pulse: Karen Pearlman’s Cutting Rhythms: Creative Film Editing

07.30

Senses of CinemaAn Interview with Giulio Bertelli

07.30

Senses of CinemaConsent Puzzles in the Oslo Stories Trilogy by Dag Johan Haugerud

07.30

Senses of CinemaKorean Cinephilia and Its Possible Futures: The 27th Jeonju International Film Festival

07.30

Senses of CinemaMahboobeh Kalaee: Creation as Antidote to Destruction during American and Israeli airstrikes

07.30

Senses of CinemaThe Eternal Return: The Battle of Algiers at 60

07.30

Senses of CinemaIntroduction

07.30

Our mark is 銀幕, ginmaku — the silver screen, and the same two characters in Japanese, Chinese and Korean.

I came to Tokyo at twenty-three for a summer job at a Shibuya mini-theatre and the job never quite ended. Fifteen years of festivals later I still think the only review that counts is the one the room gives you: where the laugh lands, the moment three hundred people stop moving at once, whether anybody stays for the credits.

Cinepuuulse follows Asian cinema — Japan, Korea, China, Taiwan, Hong Kong, Vietnam, Thailand — across about a hundred and twenty sources. A good number of them are Spanish, French and Portuguese, because those countries programme this work seriously and write about it better than most of the English-language trade. Genre and art-house get the same seat here. I am not ranking them, and nothing is scored out of ten.

Each story is a headline, a short excerpt, one still and a link to the outlet that did the reporting. We never republish the piece, and the still belongs to its studio or its photographer. A Korean trade paper appears in Korean, a French review in French. We point at the work; we do not put words in anyone's mouth.

— Daren Wise, Tokyo

One letter a week, starting soon.

Senses of Cinema

Senses of CinemaLe jour se lève: Along the noir continuum

Senses of CinemaThérèse Raquin

Senses of CinemaLes Portes de la nuit

Senses of CinemaTrouble in Paradise: Ikarie XB 1’s Music and Sound

Senses of CinemaLisa and the Devil

Senses of CinemaThe Girl Who Knew Too Much

Senses of CinemaRabid Dogs

Senses of CinemaPlayful Provocation: Hypermediacy in Mario Bava’s Danger: Diabolik

Senses of CinemaKill, Baby… Kill!

Senses of CinemaThe Faces of Mario Bava’s Black Sabbath

Senses of CinemaFilmmaking at the end of the world: The Quiet Earth

Senses of CinemaCrimes Against Reality: Speculation and the New Red Order

Senses of CinemaFeeling the Screen Story’s Pulse: Karen Pearlman’s Cutting Rhythms: Creative Film Editing

Senses of CinemaAn Interview with Giulio Bertelli

Senses of CinemaConsent Puzzles in the Oslo Stories Trilogy by Dag Johan Haugerud

Senses of CinemaKorean Cinephilia and Its Possible Futures: The 27th Jeonju International Film Festival

Senses of CinemaFerrara, Abel

Senses of CinemaMahboobeh Kalaee: Creation as Antidote to Destruction during American and Israeli airstrikes

Senses of CinemaThe Eternal Return: The Battle of Algiers at 60

Senses of CinemaIntroduction