| Title |
Author(s) |
Volume/Issue |
Date |
|
The Need for Empathy at 2017 Cannes
|
Badt, Karin Luisa |
vol. 41
no. 3 |
2017 |
|
The Memeification of Jean-Luc Godard
|
Baek, Andrew |
vol. 42
no. 3 |
2018 |
|
Beyoncé’s “Formation”
|
Ball, Kevin |
vol. 40
no. 3 |
2016 |
|
“Untitled”: Black Sounds and Music Video as an Object of Study
|
Ball, Kevin D. |
vol. 40
no. 1 |
January 2016 |
|
Complicity in Darren Aronofsky's mother! (2017)
|
Bandonis, Molly |
vol. 43
no. 3 |
2019 |
|
Dennis Hopper’s Pop Art Misery: Revisiting the Image of the American Flag for Easy Rider's Fiftieth Anniversary
|
Batsakis, Joanna Elena |
vol. 43
no. 4 |
2019 |
|
The Hotel Wants What the Hotel Wants: A Review of The Leftovers, “International Assassin” (Craig Zobel, 2015)
|
Becque, Simone |
vol. 40
no. 3 |
2016 |
|
A Tale of Two Pools
|
Becque, Simone |
vol. 40
no. 3 |
2016 |
|
Let’s Fight Ghost: The Afterlife Leading the Living
|
Bedolla, Michelle |
vol. 41
no. 3 |
2017 |
|
A Case for Close Analysis
|
Belton, John |
vol. 40
no. 1 |
January 2016 |
|
At the Margins of the Bromance: A Queer Reading of The Hangover Part III and Its Promotional Materials
|
Benson, Chloe |
vol. 41
no. 1 |
February 2017 |
|
Confessions of a Platform Agnostic, or Film Criticism after Film
|
Benson-Allott, Caetlin |
vol. 40
no. 1 |
January 2016 |
|
How to Live Together with Her (2013): Posthuman Forms of Roland Barthes’ Idiorrhythmy
|
Bergmann, Max |
vol. 44
no. 1 |
January 2020 |
|
Jans B. Wager, Jazz and Cocktails: Rethinking Race and the Sound of Film Noir
|
Berke, Annie |
vol. 43
no. 3 |
2019 |
|
Freddie versus Maya: A Textual Analysis of Two Narrative Structurations of (Post)colonial ‘Brown’ Subjectivity as read through Lacanian Film Theory
|
Beshara, Robert K. |
vol. 43
no. 1 |
2019 |
|
Disease, Disaster Noir, and Cinematic Panic
|
Biesen, Sheri Chinen |
vol. 44
no. 4 |
2020 |
|
Flags à la Noir: Reframing Patriotism in the Post-War Films of Fred Zinnemann
|
Biesen, Sheri Chinen |
vol. 43
no. 4 |
2019 |
|
Democratizing the Screen: 'Cinematizing' and 'Musicalizing' Social Justice, Politics, and the Vote
|
Biesen, Sheri Chinen |
vol. 44
no. 4 |
2020 |
|
A Mood of Dissonance: Unpinning Ambiguity in Gus Van Sant’s Elephant
|
Bowens, Max |
vol. 41
no. 1 |
February 2017 |
|
Precarious Spaces and Subjects in Transition: Postcommunism and Romanian Moving Image Art
|
Brebenel, Mihaela |
vol. 43
no. 2 |
September 2019 |
|
Bernie Cook, Flood of Images: Media, Memory, and Hurricane Katrina
|
Bronstein, Phoebe |
vol. 41
no. 3 |
2017 |
|
Amateurism and the Aesthetics of Lego Stop-Motion on YouTube
|
Brownlee, Shannon |
vol. 40
no. 2 |
June 2016 |
|
The Film Critic Between Theory and Practice; (Or: What Every Film Critic Needs to Know)
|
Buckland, Warren |
vol. 40
no. 1 |
January 2016 |
