| Title |
Author(s) |
Volume/Issue |
Date |
|
Ellen C. Scott, Cinema Civil Rights: Regulation, Repression, and Race in the Classical Hollywood Era (Rutgers University Press, 2015)
|
Macek, Steve |
vol. 40
no. 3
|
2016 |
|
Violence and Care in Three Billboards Outside Ebbing, Missouri
|
Manzella, Abigail G. H. |
vol. 42
no. 3
|
2018 |
|
Scream Queens: Season 1
|
Marra, Peter |
vol. 40
no. 3
|
2016 |
|
On the Couch
|
Martin, Adrian |
vol. 40
no. 1
|
January 2016 |
|
Racquel J. Gates, Double Negative: The Black Image and Popular Culture
|
Martin, Jr., Alfred L. |
vol. 44
no. 3
|
2020 |
|
Bohemian Normativity: Bohemian Rhapsody and the New Heteronormal
|
McCleerey, Mark |
vol. 43
no. 3
|
2019 |
|
Women at Work: Money Monster’s Elegant Critique of Men & Media
|
McCleerey, Mark |
vol. 40
no. 3
|
2016 |
|
Cobra Kai: Franchise Generationality in the Contemporary Reboot
|
McIntyre, Anthony P. |
vol. 43
no. 3
|
2019 |
|
“The Great Game”: Grids and Boxes in Cold War Screen Spaces
|
McNaughton, Douglas |
vol. 43
no. 2
|
September 2019 |
|
Binge-Reviews? The Shifting Temporalities of Contemporary TV Criticism
|
McNutt, Myles |
vol. 40
no. 1
|
January 2016 |
|
“Patton's Flag, and Other Chi-Raq Disasters”
|
Metz, Walter |
vol. 43
no. 4
|
2019 |
|
"So Shines a Good Deed in a Weary World": Intertextuality in Steven Spielberg's Ready Player One (2018)
|
Metz, Walter |
vol. 42
no. 4
|
2018 |
|
"Club Sandwich"
|
Metz, Walter |
vol. 42
no. 4
|
2018 |
|
Lights, Not Out, but Colored
|
Metz, Walter |
vol. 40
no. 3
|
2016 |
|
The Sounds of Silence: Todd Haynes’ Film Adaptation of Brian Selznick’s Wonderstruck
|
Metz, Walter |
vol. 42
no. 4
|
Summer 2018 |
|
A Hallmark of the Classical Holiday Cinema, or Meeting Two Christmas Queens
|
Metz, Walter |
vol. 42
no. 4
|
2018 |
|
The Atomic Gambit of Twin Peaks: The Return
|
Metz, Walter |
vol. 41
no. 3
|
Fall 2017 |
|
“Far From Toy Trains”
|
Metz, Walter |
vol. 40
no. 3
|
2016 |
|
“New Englanders, Out of Their Minds”
|
Metz, Walter |
vol. 40
no. 3
|
2016 |
|
“There’s Something Rotten in Film Criticism, and His Name is, Regrettably, Not Johnny”
|
Metz, Walter |
vol. 40
no. 1
|
January 2016 |
|
New Cinema, New Critique: French Film Criticism at the Crossroads, 1960
|
Morari, Codruţa |
vol. 41
no. 1
|
Februrary 2017 |
|
Utopia and the Biopolitics of Race: Channel 4’s Utopia (2013-15)
|
Mousoutzanis, Aris |
vol. 43
no. 2
|
September 2019 |
|
Looking Back: Versions of the Post-Apocalypse in Contemporary North-American Cinema
|
Moya, Ana; López, Gemma |
vol. 41
no. 1
|
February 2017 |
|
“Witness, Worker, Mercenary: Race and Labor in the New Culture Industries”
|
Mukherjee, Roopali |
vol. 40
no. 1
|
January 2016 |
|
Chuck Tryon, On-Demand Culture: Digital Delivery and the Future of Movies (Rutgers University Press, 2013)
|
Murphy, Ian |
vol. 40
no. 3
|
2016 |
|
Coincidence and Counterfactuality: The Multiple Plot Structure of The Talented Mr. Ripley (1999)
|
Murphy, Terence Patrick; Walsh, Kelly S. |
vol. 42
no. 1
|
March 2018 |
