Short Works

Appropriate Behavior (Desiree Akhavan, 2014)

Articles & Book Chapters

Forthcoming

Appropriate Behavior | Queer Film Classics Series, McGill-Queen’s University Press. Contracted and under review, expected 2022.

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

“Living in the Gray Area: Bisexual Signification in Desiree Akhavan’s The Bisexual.” In Television Studies in Queer Times, ed. Hollis Griffin, Routledge. Contracted and under review, expected 2022.

Symbiopsychotaxiplasm: Take One (William Greaves, 1967)

Recent

“Open (to) Marriage: Saving Sanctioned Coupling through Consensual Non-Monogamy Narratives.” In Imagining ‘We’ in the Age of ‘I,: Romance and Social Bonding in Contemporary Culture, ed. Mary Harrod, Suzanne Leonard, and Diane Negra, Routledge. Available for pre-order; publication July 30, 2021.

“‘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. Published by Routledge, 2021. Reprinted in After “Happily Ever After”: Romantic Comedy in the Post-Romantic Age, ed. Maria San Filippo (Detroit, Wayne State University Press, 2021), 275-300.

“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)

“‘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.

Klute (Alan J. Pakula, 1971)

Film & Television Criticism

“The Sex Scene Isn’t Disappearing…it’s simply shifting from clichéd fantasy to messy reality,” The Conversation, May 20, 2021. Reprinted in Salon, May 29, 2021.

“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.

“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.

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

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 & 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.

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.

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

Girls (HBO, 2012-2017)

Book Reviews

“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.

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.

“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.

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

Festival Reviews

More

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 AfterEllen.com: 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)