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The Dark Side of Reality TV

Perfect Match

By Anahita Azarfaza

Love on the Line: Relationship Turning Points on 90 Day Fiancé

By Aubree Herman

The Concept of Isolation in Reality Dating Shows like The Bachelor

By Carson Ward

Unveiling the Dark Side of Reality Dating Shows: A Case Study of Deception in “The Perfect Match Extra Dating Show by TV3”

By Rhoda Asabea Osei

Quasi-Hyperpersonal Communication and Deception in Love is Blind

By Joshua P. Sills

Deception and Belittlement: Unveiling the Dark Sides of Communication in ’90 Day Fiancé’

By morgan.ortegon.ttu

David Bordwell

Theme week organized by
Sara Ghazi AsadollahiGeorgia State University

The lasting legacy of David Bordwell

By Yuri Tsivian

John Woo Is God!”: David Bordwell, Popular Aesthetics, and Hong Kong Action Cinema

By Henry Jenkins

Dissertating with Bordwell: Gratitude and a Touch of Regret

By Carl Plantinga

The Future of Historical Poetics—Now 

By Colin Burnett

X-Men '97

Theme week organized by
Anthony DannarGeorgia State University

“We are no longer connected, Jean”: The alienation of X-women ’97

By Christina Knopf

Assembling Fanboy Auteurism

By Kalervo A. Sinervo

Musings on Race in X-Men '97

By Mychal Reiff-Shanks

“It’s Disney, what do you expect:” Anti-woke discourse in X-Men ‘97 fandom

By Anthony Dannar

Anxious Love, Anxious Laughter: The Art of Comedy in American Jewish Films.

Theme week organized by
Joseph OziasUniversity of Cincinnati

On the Cringe of Success: Finding the Humor in the Pain in Claudia Weill’s Girlfriends

By Joseph Ozias

The Good, The Bad, and The Ugly: How A Car Ride Can Make or Break a Relationship in The Heartbreak Kid

By Stella Fried

“You’re Hurting Me”: Comedic Rhythms for Tragic Ends in Ronald Bronstein’s Frownland

By Clark Comstock

Uncertainty and Liminality in the Coen Brothers’s A Serious Man (2009)

By Bryce Bullins

"To Speak or to Die”: Voice, Love, and Loss in Call Me By Your Name

By Quinn Moyer

Montage/Composite/Exchange I

Theme week organized by
Jordan ChrietzbergGeorgia State University

Call For An Editing Strike

By Domietta Torlasco

Images Travel as Transformats

By Peter Szendy

Offering it up

By Eugenie Brinkema

The King's 289M Bodies: On Trump's Mug Shot and the Sovereign Image

By Meghan Sutherland

Montage/Composite/Exchange II

Theme week organized by
Jordan ChrietzbergGeorgia State University

From Editing to Découpage, and from Classical to Modern Cinema

By Dudley Andrew

Montage and/as Relation

By Ryan Conrath

Oración para Marilyn Monroe

By Sean Cubitt

Montage Opaque

By Adrian Martin

Cinema and Visual Arts

Theme week organized by
Sara Ghazi AsadollahiGeorgia State University

Ornaments of Horror: Kubrick’s Carpet, Wallpaper, and the Rococo Survival

By Tomáš Jirsa

Hiding in Plain Sight: Blackamoors in Classical Hollywood Cinema

By Susan Felleman

100 Years of Eternity (Between Cinema and Painting)

By Jennifer J. Wild

The Dictionary of Obscure Figures

By Alper Gobel

The Curse

Theme week organized by
Mychal Reiff-Shanks

Fielder Atones in The Curse

By Jason Potel

Backyard Holocausts: The Curse and The Zone of Interest

By Paul Dobryden

Horrible White Neoliberal Feminism in The Curse

By Sarah Lahm

The Use of Music in The Curse

By Mychal Reiff-Shanks

Nathan's Curse

By Vinícius Portella

Robert Bresson

Theme week organized by
Sara Ghazi AsadollahiGeorgia State University

What if Bresson’s Crew Had Not?

By Raymond Watkins

Robert Bresson’s The Devil, Probably: The Rhythms of Proletarian Life

By Colin Burnett Alan Zhou

On the Odd Satisfaction of Bresson

By Jordan Schonig

Christ and Metal: Une femme douce and its symmetries

By Vahid Mortazavi

Bresson’s Choreography of Writing

By Sara Ghazi Asadollahi

Labor and the Moving Image

Theme week organized by
Jordan ChrietzbergGeorgia State University

The Labor of Spectatorship

By Pansy Duncan

Of Widows and Maids: Production, Reproduction, Caregiving

By Alessandra Raengo

Media War: Boron Lockout

By John T. Caldwell

Zoned for Interest (Notes With and Around Serge Daney)

By Jordan Chrietzberg

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