| Title |
Author(s) |
Volume/Issue |
Date |
|
The Academic Film Blog (2000-2015), A Eulogy
|
Klein, Amanda Ann |
vol. 40
no. 1 |
January 2016 |
|
Aesthetics, Politics, and the Police Hermeneutic: Online Videos of Police Violence Beyond the Evidentiary Function
|
Stork, Benedict |
vol. 40
no. 2 |
july 2016 |
|
After the Farm Crisis: The Critique of Neoliberal Society in What's Eating Gilbert Grape?
|
Denton, Stacy |
vol. 42
no. 1 |
March 2018 |
|
Alexander Zahlten, The End of Japanese Cinema: Industrial Genres, National Times, and Media Ecologies
|
Landa, Amanda |
vol. 42
no. 3 |
2018 |
|
Allyson Nadia Field, Uplift Cinema: The Emergence of African American Film and the Possibility of Black Modernity
|
Payton, Philana |
vol. 41
no. 3 |
2017 |
|
Amateurism and the Aesthetics of Lego Stop-Motion on YouTube
|
Brownlee, Shannon |
vol. 40
no. 2 |
June 2016 |
|
Andy Muschietti's IT: Coming-of-Age and Horror Cinema
|
Towns, Ethan |
vol. 42
no. 3 |
Summer 2018 |
|
The Apparent Puzzle of Tom Townsend and Whit Stillman’s Metropolitan
|
Foster-Stout, Jesse |
vol. 44
no. 3 |
2020 |
|
Art and Realism in a Digital Age
|
Sperling, Joshua |
vol. 40
no. 1 |
January 2016 |
|
Art House Convergence
|
Kozma, Alicia |
vol. 42
no. 3 |
2018 |
|
At Home, He’s a Tourist: The Odyssey of Anthony Bourdain
|
Greene, Doyle |
vol. 41
no. 3 |
2017 |
|
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 |
|
The Atomic Gambit of Twin Peaks: The Return
|
Metz, Walter |
vol. 41
no. 3 |
Fall 2017 |
|
Audiovisual Futures
|
Shaviro, Steven |
vol. 40
no. 1 |
January 2016 |
