'As we move through the spooky season to summer blockbusters, the serious and eclectic discussion of cinema continues. Issue 107 covers Senses of Cinema founding editor, Bill Mousoulis’, latest film, My Darling in Stirling, an Umbrellas of Cherbourg-inspired musical, which has already captured the hearts of audiences since its premiere at the 2023 Adelaide Film Festival in October. Iranian critic Amir Hossein Siadat provides a detailed analysis of Bahram Beyzaie’s 1976 classic Stranger and the Fog, recently restored and playing at various international film festivals. Siadat breaks down the film’s historical, cultural and mythological references, enabling contemporary readers to appreciate its singularity and achievement.' (Editorial introduction)
'Mapping Global Horror: Australia, Japan and Beyond brought world-leading scholars and filmmakers to Wurundjeri country for a two-day conference to navigate how the titular genre moves through time, space and cultures. Wurundjeri and Yorta Yorta Professor Andrew Peters opened the conference with an Acknowledgement of Country, which noted that the idea of the living dead (featured heavily at the conference) connects very deeply and very clearly with thousands of years of Indigenous thought. It’s within Indigenous culture to honour the dead, to understand that their spirits return and their connection to the living stays strong. While (particularly Western) horror conventions reflect the tendency to fear the dead, generally speaking, Indigenous cultures aren’t particularly disturbed by the spirit world. The conference reflected the maturation of horror film studies. It posited that perhaps the genre emerges from a place of empathy, as opposed to terror. Filmmakers and academics seemed to share an understanding that the horrors of human history are largely catalysed by asymmetrical power dynamics. Compelling horror cinema, or scholarship, will seek to reconcile with this.' (Introduction)
'At the intersection of theory and practice, Mapping Global Horror: Australia, Japan and Beyond put horror scholars in dialogue with filmmakers and festival producers. This enabled audiences to understand new dimensions of a medium that’s constantly fluctuating in form. The roundtable transcribed here was chaired by Adam Daniel, an academic and filmmaker from the Australian Film Television and Radio School and Western Sydney University. He was joined by Isabel Peppard: a director, animator and visual artist. Her animated short Butterflies (2012) won the Dendy Award at The Sydney Film Festival and was nominated for an Australian Academy of Cinema and Television Arts Award (AACTA). Caitlin Koller is an award-winning Australian filmmaker, featured in 1000 Women In Horror: 1895-2018 and Women Make Horror: Filmmaking, Feminism, Genre. Natalie Erika James’ feature length debut, Relic (2020), premiered at the Sundance Film Festival and received nominations for Best Film at the 2020 Gotham Awards as well as Best Film, Best Direction and Best Screenplay at the 2020 AACTA Awards. Asakura Kayoko was born and raised in Japan, her film My Girlfriend Is a Serial Killer (Hitsuji to ôkami no koi to satsujin, Asakura Kayoko, 2019) screened at the conference, alongside Relic.' (Introduction)
'Having previously collaborated on twelve low-budget (short and feature) films together, by 1917 Raymond Longford and Lottie Lyell were now wanting to work on larger scale feature productions. Support for this ambition came from Adelaide’s newly formed Southern Cross Feature Film Company, with their own aspiration to produce five dramas and three comedies within the first 12 months. The first of these productions would be The Woman Suffers (1918), and Southern Cross would continue to produce Longford’s great run of feature productions with Lyell including The Sentimental Bloke (1919), Ginger Mick (1920), On Our Selection (1920), Rudd’s New Selection (1921) and The Blue Mountains Mystery (1921), until 1923 when Longford and Lyell broke ties to form their own company, Longford-Lyell Australian Productions.' (Introduction)
Lottie Lyell had her work cut out when she agreed to appear as the love interest of The Sentimental Bloke (Raymond Longford, 1919). The film was, and has usually been admired, as a bloke-ish affair. Its reputation – it was the highest grossing Australian film during the silent era, and has been called the ‘Great Australian Film’ – has been attributed to its (male) director. Raymond Longford is revered as “the only genuine creative talent the Australian cinema has produced” and “a remarkable filmmaker” with “unique vision”. His characteristic fusion of high Victorian melodrama, natural light and outdoor shooting, pacy realism, and dynamic cinematic techniques, led to comparisons with D.W. Griffith, then the most famous film director in the world.' (Introduction)
