Short Works

Articles & Book Chapters

Edited Special Issues

Feminist Film/Media Studies Now, special issue of New Review of Film and Television Studies 22.1 (Spring 2024): 1-268.

Radical Romantic Comedy, special issue of New Review of Film and Television Studies 18.1 (Spring 2020): 1-118.


In the Cut (Jane Campion, 2003).” Screening Adult Cinema, ed. Desirae Embree, Finley Freibert, and Peter Alilunas, chapter submitted for collection contracted at Routledge.

“Regenerating ‘Radical Romantic Comedy’ for the Twenty-First Century.” In The Oxford Handbook of Screen Comedy Studies, ed. William Costanzo and Peter Kunze, chapter submitted for collection contracted with Oxford University Press.

“Full-Frontal Feminism: Nudity and Sex Scenes in Jane Campion’s ‘Turn of the Millennium Trilogy’.” In The Sex Scene: Representation, Aesthetics, Performance, ed. Darren Kerr and Donna Peberdy, chapter submitted for two-volume collection contracted with Edinburgh University Press.

Passages” [Film review]. Journal of Bisexuality, forthcoming December 2023.

Support the Girls (Andrew Bujalski, 2018)


“Living in the Gray Area: Bisexual Signification in Desiree Akhavan’s The Bisexual.” In Television Studies in Queer Times, ed. F. Hollis Griffin (Routledge, 2023), 201-214.

“Mumblecore’s Second Act: Millennial Indie Moviemaking’s Migration to Television.” In Indie TV: Industry, Aesthetics, and Medium Specificity, ed. James Lyons and Yannis Tzioumakis (Routledge, 2023), 155-171. Trans. (Spanish) and reprinted in Mumblecore: Explorations on North American independent cinema, ed. Álvaro Bretal, Milagros Porta, Iván Zgaib. Buenos Aires: Taipei Editions, 2023.  

“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, 2021), 93-109. Awarded MeCCSA Edited Collection of the Year 2022

“‘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.

Symbiopsychotaxiplasm: Take One (William Greaves, 1967)

Criticism & Commentaries

“The Damage Done” on All the Beauty and the Bloodshed (Laura Poitras, 2022), Doculogue, April 1, 2023.

“Quare Intimacies: Maria Flood & Victor Evans on ‘Moonlight’” (Introduction). NRFTS Blog, June 2022.

“Oscar & Me; Or, Further Reflections on Responsibilities of a Feminist Media Critic,” Flow, April 10, 2022.

Maude & Me; Or, Responsibilities of a Feminist Media Critic,” Flow, November 16, 2021.

“The rom-com is alive and well and breaking new conventions,” The Boston Globe, September 19, 2021.

“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.

“Now Is the Time of Monsters: A Roundtable on Contemporary Horror” (Introduction). NRFTS Blog (2021).

The Year of Screening Provocatively,” Indiana University Press Blog, February 8, 2021.

“White Riot: A Joker Roundtable” (Introduction). NRFTS Blog (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.

“Declaration of Principles,” New Review of Film and Television Studies 18.1 (Spring 2020): 1-2.

“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)

Festival Reports

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).

Centre for Screen Cultures Themed Playlists

2015 and earlier

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

“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)