Articles + Chapters

“Changing Circumstance.

  • World Cinema, Global Networks. Eds. Elena Gorfinkel and Tami Williams. New Brunswick, NJ: University of Rutgers Press, forthcoming.

“Pink Material:  White Womanhood and the Colonial Imaginary of World Cinema Authorship.

  • Routledge Companion to Gender and Cinema. Eds. Kristin Hole, Dijana Jelaca, E. Ann Kaplan, Patrice Petro. London: Routledge, 2016. 215-226.

“Killer Feminism.

  • Indie Reframed: Women’s Filmmaking and Contemporary American Independent Cinema. Eds. Linda Badley, Clare Perkins, and Michele Schreiber. Edinburgh: Edinburgy University Press, 2016. 36-53.

“Sketchy Lesbians: Carol as History and Fantasy.

  • Film Quarterly 69:2 (Winter 2015), pp. 8-18.

Pariah: Coming Out in the Middle.”

Adepero Oduye in Pariah (Dee Rees, 2011)

  • Possible Films. Eds. Claire Perkins and Constantine Verevis. Edinburgh, Scotland: Edinburgh University Press, 2015. 133-143.

“Documentary Practice and Transnational Feminist Theory: The Visibility of FGC.”

  • Blackwell Companion to Documentary. Eds. Alex Juhasz and Alisa Lebow. Malden, MA: Blackwell, 2014. 217-232.

“Global Flows of Women’s Cinema: Nadine Labaki.”Nadine Labaki, Where Do We Go Now

  • Media Authorship. Eds. Cynthia Chris and David Gerstner. London: Routledge, 2013. 212-228.


“Age Appropriate?: Sundance’s Women Filmmakers Come Next.”

  • Film Quarterly 67.2 (2013): 80-84.

“Book Review: The New Queer Cinema: The Director’s Cut by B. Ruby Rich.”

  • Film Quarterly 67:1 (2013): 89-91.


Women Make Movies, 40th Year

“Looking Back and Looking Forward: A Conversation About Women Make Movies.”

  • Co-authored with Debra Zimmerman. Camera Obscura 28 (2012) 147-155.


“Teaching Gender and Sexuality with Independent Media.”

  • Teaching Film. Eds. Lucy Fischer and Patrice Petro. New York: MLA Publications, 2012. 63-73.

 “Feminist Commitment and Feminized Service: Nonprofits and Journals.”

  • Cinema Journal 49.3 (2010): 99-103.Bound film still

“Book Review: Lesbianism, Cinema, Space: The Sexual Life of Apartments.”

  • GLQ 16:3 (2010): 487-490.

“Watching Women’s Films.”Treeless

  • Camera Obscura 72 (2009): 152-162.

 “Lesbian Minor Cinema.”

  • Screen 49.4 (2008): 410-425.

 “(Re)Inventing Camera Obscura.”

  • Co-authored with the Camera Obscura collective. Inventing Film Studies. Eds. Lee Grievson and Haidee Wasson. Durham, NC: Duke University Press, 2008, 298-318.

Kim Longinotto, Sisters in Law film still

“Cinema Solidarity: Kim Longinotto’s Documentary Practice.”

  • Cinema Journal 46:1 (2006) 120-127.

 “Last Days of Women’s Cinema.”

  • Camera Obscura 63 (2006): 145-151.

“An Archive for the Future: Camera Obscura at Thirty: Archiving the Past, Imagining the Future.”

  • Editors’ Introduction. Camera Obscura 61 (2006): 1-25.

“Hitchcock and Hom(m)osexuality.”

  • Hitchcock: Past and Future. Eds. Richard Allen and Sam Ishii González. London: Routledge, 2004. 211-227.

 Nazimova, Salome 1“Nazimova’s Veils: Salome at the Intersection of Film Histories.”

  • A Feminist Reader in Early Cinema. Eds. Diane Negra and Jennifer Bean. Durham, NC: Duke University Press, 2002. 60-87.

 “The Boys Don’t Cry Debate: Girls Still Cry.”

  • Screen 42.2 (2001): 217-221.
  • Reprinted in Queer Screen: A Screen Reader. Eds. Jackie Stacey and Sarah Street. London: Routledge, 2007.

Mercedes de Acosta

“Black and White: Mercedes de Acosta’s Glorious Enthusiasms.”

  • Camera Obscura 45 (2001): 225-265.
  • Reprinted in Reclaiming the Archive: Feminism and Film History. Ed. Vicki Callahan. Detroit, MI: Wayne State University Press, 2010. 231-258.

“Hollywood Lesbians: Annamarie Jagose interviews Patricia White.”

  • Genders 32 (2000).


“Queer Publicity: A Dossier on Lesbian and Gay Film Festivals.”

  • Introduction and editor. GLQ 5.1 (1999): 73-93.

“Feminism and Film.”Oxford Guide to Film Studies cover

  • Oxford Guide to Film Studies. Eds. John Hill and Pamela Gibson. Oxford, UK: Oxford University Press, 1998. 117-131.


“Book Review: A Fine Romance: Five Ages of Film Feminism by Patricia Mellencamp and Kiss Me Deadly: Feminism and Cinema for the Moment.”

  • Signs 23.2 (1998): 519-524.

Agnes Moorehead 1“Supporting Character: The Queer Career of Agnes Moorehead.”

  • Out in Culture: Lesbian, Gay and Queer Essays in Popular Culture. Eds. Alexander Doty and Corey Creekmur. Durham, NC: Duke University Press, 1995. 91-114.
  • Reprinted in Movie Acting: The Film Reader. Ed. Pamela Robertson Wojcik. London: Routledge, 2004. 211-226.

“Governing Lesbian Desire: Nocturne’s Oedipal Fantasy.”

  • Feminisms in the Cinema. Eds. Ada Testaferri and Laura Pietropaolo. Bloomington: Indiana University Press, 1995. 86-105.

“Female Spectator, Lesbian Specter: The Haunting.”

  • Inside/Out: Lesbian Theories, Gay Theories. Ed. Diana Fuss. New York: Routledge, 1991. 142-172.The Haunting
  • Reprinted in Sexuality and Space. Ed. Beatriz Colomina. Princeton, NJ: Princeton Architectural Press, 1992. 131-162.
  • Reprinted in Women in Film Noir, revised edition. Ed. E. Ann Kaplan. London: BFI Publishing, 1999. 130-150.
  • Reprinted in The Horror Reader. Ed. Kenneth Gelder. London: Routledge, 2000. 210-222.


Women in Film: An International Guide.

  • Contributor. Eds. Annette Kuhn with Susannah Radstone. London: Pandora and New York: Ballantine, 1990.

Ulrike Ottinger, Madame X film still“Madame X of the China Seas.”

  • Screen 28.4 (1987): 80-95.
  • Reprinted in Queer Looks: Perspectives on Lesbian and Gay Experimental Media. Eds. Martha Gever, John Greyson, and Pratibha Parmar. New York: Routledge, 1993. 275-291.
  • Reprinted in Kinemathek 86 (1995): 90-106
  • Reprinted in Perspectives on German Cinema. Eds. Terri Ginsberg and Kirsten Moana Thompson. New York: GK Hall, 1996. 435-449.