Appropriate Behavior (Desiree Akhavan, 2014)

In Progress

Appropriate Behavior | Queer Film Classics Series (McGill-Queen’s University Press, expected 2022)


Provocauteurs & Provocations: Screening Sex in 21st Century Media (Indiana University Press, 2021)

The B Word: Bisexuality in Contemporary Film and Television (Indiana University Press, 2013)

Edited Collection

After “Happily Ever After”: Romantic Comedy in the Post-Romantic Age
Contemporary Approaches to Film and Media Series (Wayne State University Press, 2021)

Guest Edited Special Issue

“Radical Romantic Comedy,” special issue of New Review of Film and Television Studies 18.1 (2020).

Journal Articles & Book Chapters

“Mumblecore’s Second Act: Millennial Indie Moviemaking’s Migration to Television.” In Indie TV, ed. James Lyons and Yannis Tzioumakis. Under contract at Routledge, expected 2022.

“Writing Like a Man: Leigh Brackett and the Gendered (Re)Vision of New Hollywood.” In Women and New Hollywood, ed. Aaron Hunter and Martha Shearer. Under contract at Rutgers University Press.

“Living in the Gray Area: Bisexual Signification in Desiree Akhavan’s The Bisexual.” In Television Studies in Queer Times, ed. Hollis Griffin. Under contract at Routledge.

“Open (to) Marriage: Saving Sanctioned Coupling through Consensual Non-Monogamy Narratives.” In Imagining ‘We’ in the Age of ‘I,ed. Mary Harrod, Suzanne Leonard, and Diane Negra. Under contract at Routledge.

“‘Just Because I’m a Lesbian Doesn’t Mean I’m Evolved’: The ‘Bad Queer’ Women’s Comedic Web Series,” Bad Objects, special issue of The Velvet Light Trap 85 (Spring 2020): 65-77.

“Breaking Upwards: The Creative Uncoupling of Desiree Akhavan and Ingrid Jungermann,” Independent Women: From Film to Television, special issue of Feminist Media Studies, ed. Claire Perkins and  Michele Schreiber, 19.7 (2019): 991-1008.

“The Politics of Fluidity: Representing Bisexualities in 21st Century Screen Media.” In The Routledge Companion to Media, Sex, and Sexuality, ed. Feona Attwood, Brian McNair, and Clarissa Smith (Routledge, 2017), 70-80.

“Doing Time: Queer Temporalities and Orange Is the New Black.” In The Age of Netflix: Critical Essays on Streaming Media, Digital Delivery, and Instant Access, ed. Myc Wiatrowski and Cory Barker (McFarland, 2017), 75-97.

“Sexual In-betweener/Industry In-betweener: The Career and Films of Lisa Cholodenko.” In Indie Reframed: Women’s Filmmaking and Contemporary American Independent Cinema, ed. Linda Badley, Claire Perkins, and Michele Schreiber (Edinburgh UP, 2016), 221-238.

Transparent Family Values: Unmasking Sitcom Myths of Gender, Sex(uality), and Money.” In The Sitcom Reader, 2nd edition, ed. Mary M. Dalton and Laura R. Linder (SUNY Press, 2016), 305-318. Supplementary Interview.

Fat Girl/Á ma soeur (Catherine Breillat, 2001)
Fat Girl/Á ma soeur (Catherine Breillat, 2001)

“‘Art Porn’ Provocauteurs: Queer Feminist Performances of Embodiment in the Work of Catherine Breillat and Lena Dunham,” Performance and the Body, special issue of Velvet Light Trap 77 (Spring 2016): 28-49.
Reprinted in Reading Lena Dunham’s Girls: Feminism, Post-Feminism, Authenticity, and Gendered Performance in Contemporary Television, ed. Meredith Nash and Imelda Whelehan (Palgrave, 2017), 165-180.

A Tale of Two Suzannes: À nos amours (For Our Loves, 1983) and Suzanne (2013),” Senses of Cinema 77, December 2015.

“‘Selling Film’ in the summer of 2015: Midnight Sun, Il Cinema Ritrovato, and Karlovy Vary,” NECSUS: European Journal of Media Studies, Autumn 2015.

“Growing Old Together: Linklater’s Before Trilogy in the Twilight Years of Art House Distribution,” Film Quarterly 68.3 (Spring 2015): 53-59.

“Before and After On-line Queer Cinephile Communities as Critical Counterpublics.” In Film Criticism in the Digital Age: Media, Purposes, and the Status of the Critic, ed. Mattias Frey and Cecilia Sayad (Rutgers UP, 2015), 117-136. Best Essay in an Edited Collection Award, Society for Cinema and Media Studies, 2016.

“A Room of Its Own: Screening Space and Spectatorial Experience in Yang Fudong’s Fifth Night and Omer Fast’s Continuity,” Art + Film, special issue of CineAction 91 (Fall 2013): 14-18.

“Television’s Mid-life Crisis: Minimalism and Middle-Aged Masculinity in In Treatment and Louie,” Reevaluating Television, special issue of Cinephile 9.1 (Spring 2013): 21-25.

More Than Buddies: Wedding Crashers and the Bromance as Comedy of (Re)Marriage Equality.”  In Millennial Masculinity: Men in Contemporary American Cinema, ed. Timothy Shary (Wayne State UP, 2013), 181-199. “Highly Recommended” by Choice

“A Cinema of Recession: Micro-budgeting, Micro-drama, and the ‘Mumblecore’ Movement,” Slow Film, special issue of CineAction 85 (2011): 2-11. Supplementary “Mumblecore Montage”

“Unthinking Heterocentrism: Bisexual Representability in Art Cinema.” In Global Art Cinema: New Theories and Histories, ed. Rosalind A. Galt and Karl Schoonover (Oxford UP, 2010), 75-91.

“Controversy and Compromise in the Code’s Waning Years: Hollywood Takes a Walk on the Wild Side,” Quarterly Review of Film and Video 26.5 (Fall 2009): 372-384.

“(Re)Constructing Bisexual Space in Contemporary Film/Culture,” Queer Space, special issue, English Language Notes, 45.2 (Fall/Winter 2007): 141-147.

Mullholland Drive
Mulholland Drive (David Lynch, 2001)

“The ‘Other’ Dreamgirl: Female Bisexuality as the ‘Dark Secret’ of David Lynch’s Mulholland Drive,” Looking Both Ways: Bisexuality and the Media, special issue of Journal of Bisexuality 7.2 (2007): 15-49.

“What a Long, Strange Trip It’s Been: Symbiopsychotaxiplasm Take One,” Film History 13.2 (2001): 216-225.

“Two Women: The Dialectical Sexual Persona of Catherine Deneuve,” Senses of Cinema 23 (2002). Quoted in program notes for Deneuve retrospective at LACMA, March 2009.

“Boardwalk Xanadu: Time and Place in The King of Marvin Gardens and Atlantic City,” Senses of Cinema 13 (2001).

Celine and Julie Go Boating (Jacques Rivette, 1974)


“Serial Offender: The Bisexual (2018),” Journal of Bisexuality 20.3 (2020).

“Visible: Out on Television”: an LGBTQ TV Roundtable, Los Angeles Review of Books, June 23, 2020.

“Already Out Queer Celebrity: Kate McKinnon’s Post-Closet Representational Politics.” Female Comedians theme week, In Media Res, March 11, 2020.

“Breaking Upwards: The Creative Uncoupling of Desiree Akhavan and Ingrid Jungermann.” Media Collaborations theme week, In Media Res, November 12, 2019.

“Thin Air, Long Lines: 45th Telluride Film Festival,” Senses of Cinema 89 (2018).

“The Revolutionary Thighs of Hannah Horvath,” Los Angeles Review of Books, February 21, 2017.

“A Real Young Girl: Catherine Breillat’s Adolescent Wonderland,” Senses of Cinema 80 (2016).

Symbiopsychotaxiplasm: Take One,” National Film Registry, Library of Congress (2016).

“Female Trouble: Representing Transwomen in The Danish Girl and The New Girlfriend,” Journal of Bisexuality, 16.3 (2016): 403-407.

“Learning In/humanity through Film in Dogtooth and The Wolfpack.” Movies about Movies theme week, In Media Res, April 20-24, 2015. Selected by IMR editors as a Favorite Post of 2015.

“The Penis as Feminist Tool in Girls and Top of the Lake.” Just Add Nudity! theme week, In Media Res, October 6-10, 2014.

“Doing Time: Queer Temporalities and Orange Is the New Black, Orange Is the New Black theme week [curator], In Media Res, March 10-14, 2014.

“Performing American Masculinities: The 21st-­Century Man in Popular Culture by Elwood Watson and Marc Edward Shaw, ed.,” Cinema Journal 53.1 (Fall 2013): 184-188.

Girls (HBO, 2012-)
Girls (HBO, 2012-2017)

“Owning Her Abjection: Lena Dunham’s Queer Feminist Sexual Politics,”
HBO’s Girls and the White Box theme week, In Media Res, Jan. 7, 2013.

Enlightened or Not?: How HBO Learned to Trust Its Viewers But Not Its Shows,” Save Our Shows theme week [co-curator], In Media Res, May 14-18, 2012.

Orgasm, Inc.,” Cineaste 36.1 (2011): 80.

Ultimate Surrender: Lesbian Porn Not Just for Straight Sport,” Sex and the Internet theme week, In Media Res, February 15, 2011.

Seeds of Summer,” War Films/Female Directors special issue of CineAction 81 (2010): 62-64.

Word Is Out,” Cineaste 35.3 (2010).

The Windmill Movie,” Cineaste 35.1 (2010): 88.

Malady of Death,” Calculated Risks exhibit catalog, Davis Museum and Cultural Center, Wellesley College, Fall 2010.

Outrage,” Cineaste 34.4 (2009): 80.

For the Bible Tells Me So,” Cineaste 33.2 (2008): 88.

Symbiopsychotaxiplasm: Take One (William Greaves, 1967)
Symbiopsychotaxiplasm: Take One (William Greaves, 1967)

Symbiopsychotaxiplasm Take One & Take 2 ½,” Cineaste 31.2 (2006): 48-49.

Producing Adults,” Girlfriends 11.7 (2005): 55.

Open My Heart,” Girlfriends 11.6 (2005): 57.

Lost in Translation,” Cineaste 29.1 (2004): 26-28.

Screen Chemistry: The Power of 2 by Martha Nochimson,” Cineaste 28.4 (2003): 68-69.

Lost Illusions: American Cinema in the Shadow of Watergate and Vietnam, 1970-79 by David Cook,” Cineaste 28.2 (2003): 53-54.

“The 49th Sydney Film Festival,” Scope (2003).

“Atom Egoyan by Carole Desbarats et al.,” Senses of Cinema 20 (2002).

Projecting Paranoia: Conspiratorial Visions in American Film by Ray Pratt,” Cineaste 27.2 (2002): 51-52.

“4th Bangkok Film Festival,” Senses of Cinema 18 (2002).

American Films of the 70s: Conflicting Visions by Peter Lev,” Senses of Cinema 17 (2001).

Klute (Alan J. Pakula, 1971)

Hidden Wars of Desert Storm,” Cineaste 27.4 (2001): 96.

Apocalypse Now Redux,” Senses of Cinema 16 (2001).

Long Night’s Journey into Day,” Cineaste 26.3 (2001): 72.

Barbie Nation,” Cineaste 26.2 (2001): 64.

“25th Atlanta Film & Video Festival,” Senses of Cinema 15 (2001).

Amores Perros,” Senses of Cinema 13 (2001).

“20th Sundance Film Festival,” Senses of Cinema 12 (2001).