JUMP
CUT
A
REVIEW OF CONTEMPORARY MEDIA
Articles (other than JUMP CUT )
“Virtual Child Porn: The Law and the Semiotics of the Image,” Journal of Visual Culture, 3:2, April 2004, 35-52.
“Becoming Hollywood? Hong Kong Cinema in the New Century,” Film Appreciation (Taiwan, Chinese language translation by Yeh Yueh-yu), November 2000, 23-28.
“Siempre Selena!” 14th Annual Chicago Latino Film Festival catalogue (Chicago, March 1998), in English and Spanish (tr. Isidro Lucas), 127-129.
with John Hess, "États Unis," tr. Marie-Odile Dupé, Cinémaction (Paris), special issue on “Les revues de cinéma dans le monde,”; no. 69 (1993), 148-164., 248-251. [translation of Jump Cut article].
“Touch This: Barbara Hammer’s Risky Visions,” catalogue essay for a retrospective show, "The Films of Barbara Hammer," Mary Reimer Ross Film Theatre, University of Nebraska, March 1992. [commissioned essay; designed brochure, includes photo essay from framegrabbed stills]
“Documentary Filmmaking on the Margins: Bill Stamets’ Super 8mm Ethnography,” Cinematograph, 4 (1991), 161-168.
"My Aunt Alice's Home Movies," Journal of Film and Video, 38:3-4 (summer-fall, 1986) pp. 25-35.
with B. Ruby Rich, "Le Cinéma d'avant-garde et ses rapports avec le cinéma militant," tr. Katerina Thomadeki. Cinémaction, no. 10-11, spring-summer 1980, pp. 55-68.
"Notes on Melodrama and the Family under Capitalism," Film Reader no. 3 (1980), pp. 40-47.
with Julia Lesage, "Marxism and Film Criticism: The Current Situation," Minnesota Review, NS 8 (spring 1977), pp.146-149.
"TWO OR THREE THINGS I KNOW ABOUT HER," Women and Film,1: 3-4 (summer 1973), pp. 65-72.
"The Beach Boys: Surfin' on the Tidal Wave of History," Hubris 1:4 (Apr. 1973), pp. 8-11.
with Julia Lesage, "The Fallacy of Prolepsis: A Critique of Yves de Laurot's Cinema Engage," Cineaste, 5:4 (winter 1972-3), pp. 25-34.