| Title |
Author(s) |
Volume/Issue |
Date |
|
A Hallmark of the Classical Holiday Cinema, or Meeting Two Christmas Queens
|
Metz, Walter |
vol. 42
no. 4 |
2018 |
|
Hard Work Is Its Own Reward: Forged in Fire
|
Greene, Doyle |
vol. 41
no. 3 |
2017 |
|
The Heterotopias of Todd Haynes: Creating Space for Same Sex Desire in Carol
|
Smith, Victoria L. |
vol. 42
no. 1 |
March 2018 |
|
History and Myth in Clint Eastwood's Flags of Our Fathers
|
Curnow, James |
vol. 43
no. 3 |
2019 |
|
Hogwarts House Merchandise, Liminal Play, and Fan Identities
|
Godwin, Victoria L. |
vol. 42
no. 2 |
November 2018 |
|
The Hotel Wants What the Hotel Wants: A Review of The Leftovers, “International Assassin” (Craig Zobel, 2015)
|
Becque, Simone |
vol. 40
no. 3 |
2016 |
|
House of Cards as Shakespearean Tragedy
|
Hestand, Zac |
vol. 41
no. 3 |
2017 |
|
How Accurate is Selma in Portraying the African American Women Activists of the Civil Rights Movement?
|
Lott, Martha |
vol. 40
no. 3 |
2016 |
|
“How Do You ‘Do’ Bokeh?” The Aesthetics of How-to Videos about Background Blur and Eroticized Women
|
White, Michele |
vol. 40
no. 2 |
June 2016 |
|
How to Live Together with Her (2013): Posthuman Forms of Roland Barthes’ Idiorrhythmy
|
Bergmann, Max |
vol. 44
no. 1 |
January 2020 |
|
Hye Seung Chung and David Scott Diffrient, Movie Migrations: Transnational Genre Flows and South Korean Cinema
|
Kang, Kyoung-Lae |
vol. 41
no. 3 |
2017 |
