Publications

Books
  • Floating Signifiers: Ocean Liners in Literature, Film, and Popular Culture.
    Albany: SUNY University Press. Anticipated Publication date: 2028.
    Interdisciplinary Study of Ocean Liners as Emblems of Modernity (Migration–Encampment–Tourism)
  • On Shoreless Sea: The MS St. Louis Refugee Ship in History, Film, and Popular Memory.
    Albany: SUNY University Press. October 1, 2025.
    Interdisciplinary Study of the Historic Odyssey of the MS St. Louis and of St. Louis Memory Culture
  • Andy Warhol’s Blow Job
    Philadelphia: Temple University Press, 2003 (Series Editor: Robert Sklar).
    Interdisciplinary Study of Warhol’s Art and Films Read through Gay History, Queer Theory, Film Theory, Art Theory, and Cultural Studies
Edited Collections
  • Labour in a Single Shot: Critical Perspectives on Antje Ehmann and Harun Farocki’s Global Video Project Amsterdam: Amsterdam University Press, 2021 (Series Editor: Thomas Elsaesser)
    Co-edited with Gregory H. Williams and Peter J. Schwartz www.library.oapen.org/handle/20.500.12657/51634
  • Michael Haneke: Interviews
    Jackson: University Press of Mississippi, 2020
    Collection of American and International Interviews with Michael Haneke
    Co-edited with Fatima Naqvi and Colin Root
  • Werner Schroeter. Vienna: Synema, 2018. (Series Editor: Alexander Horwath)
  • The Wiley-Blackwell History of American Film, 4 Volumes Malden, Mass.: Wiley-Blackwell Publishers, 2012
    Co-edited with Cynthia Lucia and Art Simon
    Volume I: Origins to 1928. 532 pp.
    Volume II: 1929-1945. 566 pp.
    Volume III: 1946-1975. 652 pp.
    Volume IV: 1976-present. 612 pp.
  • Extensively Revised Two-Volume Paperback:
    • American Film History: Selected Readings, Origins to 1960 (568pp.)
      Malden, Mass.: Wiley-Blackwell Publishers, 2015
      Co-edited with Cynthia Lucia and Art Simon
    • American Film History: Selected Readings, 1960 to the Present (520pp.)
      Malden, Mass.: Wiley-Blackwell Publishers, 2015
      Co-edited with Cynthia Lucia and Art Simon
  • A Companion to Michael Haneke.
    Malden, Mass.: Wiley-Blackwell Publishers, 2010.
    625pp.

Articles and Reviews (Selection)
  • “The Quintessential Seventies Picture Show: Voyage of the Damned (1976) as Heritage Cinema between Art Cinema and Disaster Flick,” in The Routledge Companion to American Film History. Pamela Robertson Wojcik and Paula J. Massood eds. (London and New York: Routledge, 2025), 269-282.
  • “Germany Revisits the St. Louis Voyage: Die Ungewollten/The Unwanted—Die Irrfahrt der St. Louis,” The Germanic Review: Literature, Culture, Theory, 99:4 (2024): 614-633 https://doi.org/10.1080/00168890.2024.2402316
  • “With Whose Blood Were My Eyes Crafted?” Critical Concepts of Seeing, Knowing, and Remembering in Philip Scheffner’s and Merle Kröger’s Havarie (2016),” in Transit, 14:2 (2024) https://escholarship.org/uc/item/3f08h6rr
  • “Die Fahrt ins Uferlose: Das Flüchtlingsschiff St. Louis am Vorabend des Zweiten Weltkriegs,” in Archiv für Mediengeschichte: Das Schiff. Friedrich Balke, Berhard Siegert, Joseph Vogl eds. (Berlin: Vorwerk 8, 2024)
  • “One Shot, Two Mediums, Three Centuries,” in Grundmann, Williams, Schwartz eds., Labour in a Single Shot: Critical Perspectives on Antje Ehmann and Harun Farocki’s Global Video Project. )(Amsterdam: Amsterdam University Press, 2021) pp. 137-182.
  • “A Cinema that Breathes,” in Scott MacDonald and Patricia Zimmerman eds., Flaherty Stories: Voices from the Robert Flaherty Seminar. Bloomington, Indiana University Press, 2021.
  • With Fatima Naqvi and Colin Root, “Introduction,” in Michael Haneke Interviews. Jackson: University Press of Mississippi, 2020.
  • “The Passions of Werner Schroeter. An Introduction.” in Werner Schroeter. Vienna: Synema, 2018, pp. 7-57.
  • “‘A Quivering Tremor, A Vibration in Space’: Voicing Utopia in Poussieres d’amour—Abfallprodukte der Liebe (1996).” in Werner Schroeter. Vienna: Synema, 2018, pp. 159-177.
  • “The Discreet Harm of the Bourgeoisie,” Los Angeles Review of Books, February 2, 2018. Review essay of Michael Haneke’s Happy End (2017). https://lareviewofbooks.org/article/the-discreet-harm-of-the-bourgeoisie/
  • “Mehr als nur eine Geschmacksfrage. Über die widersprüchliche Valenz der Valente.” In Montage AV—Zeitschrift für Theorie und Geschichte audiovisueller Kommunikation. Vol. 26, No. 2 (2018), pp. 206-227.
  • “Cinema and Experience: Siegfried Kracauer, Walter Benjamin, and Theodor W. Adorno.” Cineaste Vol. XXXIX, No. 3 Summer 2014. pp. 74-76.
  • “Experimental Cinema and the Crystals of Time: Matthias Müller’s Visual Poems,” Millenium Film Journal, No. 58, Summer 2013, pp. 118-123.
  • “The Tenderness of Scissors in Haircut
    (No. 1).    “ Warhol in Ten Takes. Gary Needham and Glyn Davis eds. London: Palgrave MacMillan/BFI Publishing, 2013, pp. 67-83.
  • “Esthétiser l’injustice, dramatiser l’irréconciliable: les éléments lyotardiens chez Haneke. Fragments Du Monde: retour sur l’oeuvre de Michael Haneke. Valérie Carré ed. Paris: Le Bord De L’Eau, 2012, pp. 141-162.
  • “Gender, Genre, and Hollywood Labor in The Strange Love of Martha Ivers.” The Wiley-Blackwell History of American Film. Cynthia Lucia, Roy Grundmann, Art Simon Co-editors. Malden, Mass., and Oxford: Wiley-Blackwell, 2012. Pp. 595-629.
  • “Querelle’s Finality.” The Wiley-Blackwell Companion to Rainer Werner Fassbinder. Brigitte Peucker ed. Malden, Mass., and Oxford: Wiley-Blackwell, 2011.
  • “Der Dampfer im Film.” Motive im Film: Ein Kasuistischer Fischzug. Christine Noll Brinckmann and Britta Hartmann eds. Marburg: Schueren, 2011. Pp. 62-70.
  • “Painting Pointing Past Itself: Heterogeneity and Contingency in The Fulbright Triptych.” The Suspension of Time: Reflections on Simon Dinnerstein and the Fulbright Triptych. Daniel Slager ed. Minneapolis: Milkweed Editions, 2011. Pp. 156-173.
  • “Kunst und Schmuddel: Andy Warhols Porno Pop. Porno Pop II: Im Erregungs-dispositiv. Joerg Metelmann ed. Wuerzburg: Verlag Koenigshausen und Neumann, 2010. Pp. 273-290.
  • “Introduction: Haneke’s Anachronism,” A Companion to Michael Haneke. Roy Grundmann ed. Malden, Mass. and Oxford: Wiley-Blackwell Publishers, 2010, pp. 1-50.
  • “Between Adorno and Lyotard: Michael Haneke’s Aesthetic of Fragmentation,” A Companion to Michael Haneke. Roy Grundmann ed. Malden, Mass., and Oxford: Wiley-Blackwell Publishers, 2010, pp. 374-419.
  • “Michael Haneke’s Subversive Games,” The Chronicle of Higher Education, Vol. 54, No. 25, February 29, 2008, pp.B14-15
  • “Populist Motifs in John Ford’s Films.”John Ford in Focus: Essays on the Filmmaker’s Life and Work. Kevin Stoehr and Michael C. Connolly eds. Jefferson, NC, and London: McFarland & Company, Inc., Publishers, 2008. pp. 187—204.
  • “Auteur de Force: “Michael Haneke’s Cinema of Glaciation.” Cineaste Vol. 33, no. 2 (Spring 2007), pp. 3-9.
  • “Old Europe Shows New Media Art” Afterimage, Vol. 34, nos. 1-2 Special Issue on Media Arts Activism (Fall 2006), pp. 3-4.
  • “Brokeback Mountain“ Cineaste Vol. 31, no. 1 (Spring 2006), pp. 65-67.
  • “Queer Media Pedagogy: A Roundtable Discussion,” Terri Ginsberg ed. GLQ: A Journal of Lesbian and Gay Studies Vol. 12, no. 1 (Winter 2006), pp. 117-134. Written Contrib. To Roundtable Discussion.
  • “Gay-Themed Films of the German Silent Era.” Cineaste Vol. 30, no. 4 (Winter 2005), pp. 72-75.
  • “Too Darn Hot: Kinsey and the Culture Wars.” Cineaste Vol. 30, no. 2 (Spring 2005), pp. 4-10.
  • “Masters of Ceremony: Media Demonstration as Performance in Three Instances of Expanded Cinema.” The Velvet Light Trap no. 54 (Fall 2004), pp. 48-64.
  • “White Man’s Burden: Eminem’s Movie Debut in 8 Mile,”in White Noise: The Eminem Collection. Hilton Als and Darryl F. Turner eds. New York: Thunder’s Mouth Press, 2003. PP. 111-128. Reprinted from Cineaste 28:1 (Spring 2003).