Peer-reviewed publications

Edited Books and Journals

• “Cinema as Timepiece: Perspectives on The Clock,” Dossier in Framework 54.2 (Fall 2013).
• New Women of the Silent Screen: China, Japan, Hollywood. Special Issue Editor. Camera Obscura 60 Vol 30 no. 3 (2005).
• “Dossier on Cinephilia and Womens’ Cinema in the 1920s,” edited by Catherine Russell and Rosanna Maule,  Framework 46 no. 1 (Spring 2005).
• Le cinématographe, nouvelle technologie du 20e siècle / The Cinema, A New Technology for the 20th Century. Eds. André Gaudreault, Pierre Véronneau and Catherine Russell. Lausanne: Editions Payot, 2004.
• Le cinéma muet au Québec et au Canada: nouveaux regards sur une pratique culturelle. Co-edited with Pierre Veronneau. Special Issue of Cinémas (Vol 6, no. 1): Fall 1995.

Journal Articles

• “Leviathan and the Discourse of Sensory Ethnography: Spleen et idéal” Visual Anthropology Review 31.1 Spring 2015: 27-34.
• “DMZ International Documentary Film Festival: Film, Peace, and the Cold War industry” Synoptique 3.2 (2015). 86-92. [Download the PDF]
• “The Barbara Stanwyck Show: Melodrama, Kitsch, and the Media Archive.” Criticism 55.4 (Fall 2013): 567-592. [Download the PDF]
• “Archival Cinephilia in The Clock.” Framework: The Journal of Cinema and Media 54.2 (Fall 2013): 243–258. [Download the PDF]
• “Dossier: Cinema as Timepiece: Critical Perspectives on The Clock.“ Framework: The Journal of Cinema and Media 54.2 (Fall 2013): 163–176. [Download the PDF]
• “Round table discussion: Documentary, Ethnography, and the Avant-garde,” with Pratap Rughani, Ben Russell, and Chris Wright and chaired by Erika Balsom, in Moving Image Research Journal 2.1 (2013): 80-90.
• “Films about Ordinary People: The Japanese Home Drama and Ethnographic Film Criticism,” in in Beyond Text? Critical Practices and sensory Anthropology, Edited by: Rupert Cox, Andrew Irving and Christopher Wright, Manchester University Press, 2016.
• “The Restoration of The Exiles: The Untimeliness of Archival Cinema,” Screening the Past 34 September 2012 http://www.screeningthepast.com/issue-34/
• “Japanese Cinema in the Global System: An Asian Classical Cinema,” The China Review Vol. 10 no. 2, 2010: 15-36.
• “Mini-Cinema: A Digital Diary for iPod,” CineAction! 73/74 (2008): 2-7.
• “Dialectical Film Criticism: Walter Benjamin’s Historiography,Cultural Critique and the Archive,” Transformations No.15 (2007).
  http://www.transformationsjournal.org/journal/issue_15/article_08.shtml
• “Cinephilia and the Travel Film: Gambling, Gods and LSD,” e- JumpCut 48 (Winter 2006). 
  http://www.ejumpcut.org/archive/jc48.2006/GodsLSD/index.html
• “New Women of the Silent Screen: China, Japan, Hollywood,” Introduction to Special Issue of Camera Obscura 60 Vol 30 no. 3 (2005): 1-13.
• “Naruse Mikio’s Silent Films: Gender and The Discourse of Everyday Life in Interwar Japan,”Camera Obscura 60 Vol 30 no.3 (2005): 57-89.
• “Another Cinephilia: Women’s Cinema in the 1920s,” Co-authored with Rosanna Maule, Introduction to dossier of articles in Framework 46 no.1 (Spring 2005). 51-55.
• “New Media and Film History: Walter Benjamin and the Awakening of Cinema.”Cinema Journal. 43.3 (Spring 2004). 81-85.
• “Three Japanese Actresses of the 1950s: Modernity, Femininity, and the Performance of Everyday Life.” CineAction! 60 (2003): 34-44.
• “’Ladies Please Remove Your Hats:’ Fashion, Moving Pictures and Gender Politics of the Public Sphere 1907-1911.” Co-authored with Louis Pelletier. Living Pictures2:1 (2003): 61-84. (refereed journal) [Download the PDF].
• “Men with Swords and Men with Suits: The Cinema of Akira Kurosawa.” CineasteXXVII No. 1 (Winter 2002): 4-13.
• “Tokyo, the Movie.” Japan Forum 14(2) (2002): 211-224.
• “From Women’s Writing to Women’s Films in 1950s Japan: Hayashi Fumiko and Naruse Mikio.”Asian Journal of Communications 11(2) 2001: 101-120.
• “Parallax Historiography: The Flâneuse as Cyberfeminist.” Scope, an on-line journal, posted 1/07/00.
• “Archiveology,” Public 19 Lexicon 20th Century A.D. Vol. 1, p.22 (2000).
• “Mikio Naruse and the Japanese Women’s Film.” Asian Cinema Vol. 10 no.1 (Fall 1998): 120-125
• “Dystopian Ethnography: Peter Kubelka’s Unsere Afrikareise Revisited.” Canadian Journal of Film Studies, Vol. 7 no.1 (Spring 1998): 3 -15.
• “Playing Primitive: In the Land of the Headhunters and/or War Canoes.” Visual Anthropology, Vol.8 (1996): 55-77.
• “’Overcoming Modernity’: Gender and the Pathos of History in Japanese Film Melodrama.” Camera Obscura 35 (May 1995): 131-158.
• “Mourning the Woman’s Film: The Dislocated Spectator of The Company of Strangers,” The Canadian Journal of Film Studies Vol 3 No. 2 (Fall 1994): 25-40.
• “Beyond Authenticity: The Discourse of Tourism in Ethnographic and Experimental Film.” Visual Anthropology 5:2 (1992): 131-141.
• “Passionate Dialectics Revisited: Women and Film in the University.” The Independent Eye (Toronto), Spring/Summer 1991: 9-14.
• “The Life and Death of Authorship in Wim Wenders’ The State of Things.” Canadian Journal of Film Studies 1:1 (1990): 15-28.
• “The Figure in the Monitor: Beckett, Lacan, Video.” Cinema Journal 28:4 (Summer 1989): 20-37.
• “David Rimmer’s Found Footage: Reproduction and Repetition of History.”CineAction! (Spring 1989): 52-58.
• “The Work of Film in the Age of TV/Video Production.” Canadian Journal of Political and Social Theory XI:1-2 (Winter/Spring, 1987): 152-160.
• “The Politics of Putting Art on Film: Derek May and the National Film Board of Canada.” Journal of Canadian Studies 2:1 (Spring 1986): 104-115.

Book Chapters

• “Films about Ordinary People: The Japanese Home Drama and Ethnographic Film Criticism,” in Beyond Text, Edited by: Rupert Cox, Andrew Irving and Christopher Wright, Manchester University Press, 2016.
• “Paris 1900: Archiveology and the Compilation Film,” in New Silent Film, Paul Flaig and Katherine Groo eds. Routledge, 2015.
• “Benjamin, Prelinger and the Moving Image Archive,” in L’avenir de la mémoire : patrimoine, restauration et réemploi cinématographiques ed. André Habib et Michel Marie, eds. Paris: Éditions du Septentrion, 2013.
• “Women in Cities: Comparative Modernities and Cinematic Space in the 1930s,” In Transcultural Montage, Berghahn Books, eds. Christian Suhr and Rane Willerslev. New York: Berghahn Books, 2013. [Download the PDF]
• “In the Mood for Cinema: Wong Kar-wai and the Diasporic Phantasmagoria,” In The Presence of Pleasure: The Work of Cinephilia in the Age of Digital Reproduction, Jason Sperb and Scott
• Balcerzak eds. Wallflower Press, 2012.
• “Women’s Stories in Postwar Japan: Mikio Naruse’s Bangiku.” In Japanese Cinema: Texts and Contexts. Eds. Julian Springer and Alastair Phillips. London: Routledge, 2007. 124-43
• “The Inhabited View: Landscape in the Films of David Rimmer,” Landscape and Film, Ed. Martin Lefebvre, (New York: Routledge, 2006). 149-166.
• “Video.” Essay-length entry for Schirmer Encyclopedia of Film, Ed. Barry Keith Grant, Schirmer Reference, New York, 2006.
• “Cinephilia.” Essay-length entry for Schirmer Encyclopedia of Film, Ed. Barry Keith Grant, Schirmer Reference, New York, 2006.
• “Surrealist Ethnography: Las Hurdes and the Documentary Unconscious.” In F is for Phony: Readings on the Fake Documentary. Eds. Alex Juhasz and Jesse Lerner. Minneapolis: University of Minnesota Press, 2006.
• “Meiji Cinema: Motion Pictures and Japanese Modernity.” In Le cinématographe, nouvelle technologie du 20e siècle / The Cinema, A New Technology for the 20^th Century. Eds. André Gaudreault, Pierre Véronneau and Catherine Russell. Lausanne: Editions Payot, 2004.
• “Introduction,” With André Gaudreault, Pierre Véronneau, Le cinématographe, nouvelle technologie du 20e siècle / The Cinema, A New Technology for the 20^th Century. Eds. André Gaudreault, Pierre Véronneau and Catherine Russell. Lausanne: Editions Payot, 2004.
• “Too Close to Home: Naruse Mikio and Japanese Cinema of the 1950s.” In Global Cities: Cinema, Architecture, and Urbanism in a Digital Age. Eds. Linda Krause and Patrice Petro. New Brunswick, NJ: Rutgers University Press, 2003. 87-114.
• “The Lisa Steele Tapes: Investigation and Vision.” In North of Everything: English Canadian Cinema Since 1980. Eds. Bill Beard and Jerry White. Edmonton: University of Alberta Press, 2002. 430-445.
• “Role Playing and the White Male Imaginary in Atom Egoyan’s Exotica.” In Canada’s Best Features: Critical Essays on 16 Canadian Films. Ed. Gene Walz. New York: Edition Rodopi B.V. 2002). 321-342.
• “Being Two Isn’t Easy: The Uneasiness of the Family in 1960s Tokyo.” In Kon Ichikawa. Ed. James Quandt. Toronto: Cinémathèque Ontario, 2001. 255-266.
• “Tokyo Olympiad: A Symposium.” Co-authored with James Quandt, Mitsuhiro Yoshimoto, Markus Abe Nornes and Eric Cazdyn. In Kon Ichikawa. Ed. James Quandt. Toronto: Cinémathèque Ontario, 2001. 315-338.
• “Culture as Fiction: The Ethnographic Impulse in the Films of Peggy Ahwesh, Su Friedrich and Leslie Thornton.” In New American Cinema. Ed. Jon Lewis. Durham: Duke University Press, 1998. 353-378.
• “Subjectivity Lost and Found: Bill Viola’s I Do Not Know What It Is I am Like.” In Documenting the Documentary. Eds. Barry Grant and Jeannette Sloniowski. Detroit: Wayne State University Press, 1998. 344-359.
• “Insides and Outsides: Cross-Cultural Criticism and Japanese Film Melodrama.” In Melodrama and Asian Cinema. Ed. Wimal Dissanayaki. New York: Cambridge University Press, 1993. 143-154.
• “Decadence, Violence and the Decay of History: Notes on the Spectacular Representation of Death in Narrative Cinema.” In Crisis Cinema: The Apocalyptic Vision in Postmodern Narrative Film. Ed.Christopher Sharrett. Washington: Maisonneuve Press, 1993. 173-202.
• “Twilight in the Image Bank.” David Rimmer: Films & Tapes 1967-1993 Toronto: Art Gallery of Ontario, 1993. 17-58.

Articles in Translation

• “Dialectical Film Criticism: Walter Benjamin’s Historiography, Cultural Critique and the Archive,” in Turkish in SEKANS 4 (2011), 48-63.
• “Sans soleil: les infirmités du temps”, in André Habib, Viva Paci (eds.), Chris Marker et l’imprimerie du regard, Paris, Éditions L’Harmattan, coll. “Esthétiques”, 2008.
• “Otra Mirada” Spanish translation of “Another Look,” chapter of Experimental Ethnography in Archivos de la Filmoteca  57-58 Después de lo real, eds. Josep Maria Català  and Josetxo Cerdán (October 2007/ February 2008).
• “Un regard autre,”  in International Geographic, edited by Tam-Ca Vo-Van and Stefan St-Laurent (SAW Gallery, Ottawa, and YYZ Books, 2006).
• “Tokyo, le film,” trans. May Telmissany, Harmattan, in Un nouvel art de voir la ville et de faire du cinéma. Du cinéma et des restes urbains. Sous la direction de Charles Perraton et François Jost. L’Harmattan, Paris 2003.
• “L’historiographie parallaxiale et la flâneuse: le cinéma pré- et postclassique.” Translated by François Primeau et Denis Simard. Cinémas printemps 2000: 151-168. (Refereed journal)
• “Jouer aux Indiens: ‘In the Land of the Headhunters’ et/ou ‘War Canoes.’” Cinémas, Vol. 6 no.1 (1995) translated by Josée Blanchet  (refereed journal).
• “Gestalten pa TV-skarmen: Beckett, Lacan och video,” Modern Filmteori 2, Lars Gustaf Andersson & Erik Hedling (red.), Studentlitteratur 1995, translation into Swedish by Michael Tapper.
• “David Rimmer’s Found Footage: Reproduction and Repetition of History,” CineAction!, Spring 1989, pp. 52-58.  trans par Elizabeth Hamilton pour la Musée national d’art moderne, Centre George Pompidou, Paris: David Rimmer retrospective, du 9 au 11 Mai, 1990.

Reprints

• “Twilight in the Image Bank.” David Rimmer: Films & Tapes 1967-1993 Toronto: Art Gallery of Ontario, 1993, and “David Rimmer’s Found Footage: Reproduction and Repetition of History.” CineAction! (Spring 1989) eBook on David Rimmer, Mike Hoolboom ed. http://mikehoolboom.com/?p=15647
• “Another Look,” in International Geographic, edited by Tam-Ca Vo-Van and Stefan St-Laurent (SAW Gallery, Ottawa, and YYZ Books, 2006).
• “Tokyo Olympiad: A Symposium,” co-authored with James Quandt, Mitsuhiro Yoshimoto, Markus Abe Nornes and Eric Cazdyn, DVD notes, Criterion Pictures, 2003.
• “Ecstatic Ethnography: Maya Deren and the Filming of Possession Rituals,” in Rites of Realism: Essays on Corporeal Cinema, Ivone Margulies, ed. (Duke University Press, 2002):270-293. Chapter of Experimental Ethnography.
• “Parallax Historiography: The Flâneuse as Cyberfeminist,” in A Feminist Reader in Early Cinema, Jennifer Bean and Diane Negra eds., (Durham NC: Duke University Press, 2002): 552-570.
• “Autoethnography: Journeys of the Self,” in Lux: A Decade of Artists’ Film and Video. Steve Reinke and Tom Taylor eds. Toronto: YYZ and Pleasure Dome, 2000: 88-113. Chapter of Experimental Ethnography.
• “Mourning the Woman’s Film: The Dislocated Spectator of The Company of Strangers,” in Gendering the Nation: Canadian Women’s Cinema, eds. Kass Banning, Kay Armatage, Brenda Longfellow and Janine Marchessault, (University of Toronto Press, 1999).

Selected Reviews of My Work

• Review of Naruse Mikio: Women and Japanese Modernity, by Chris Fujiwara, Cineaste Summer 2009.
• Review of Naruse Mikio: Women and Japanese Modernity, by Rachel Hutchinson, in Monumenta Nipponica 64:1 (2009).
• Review of Experimental Ethnography: The Work of Film in the Age of Video. By Alison Griffiths. Film Quarterly Vol. 54 No. 2 (Winter 2000/2001): 52-54.
• Review of Experimental Ethnography: The Work of Film in the Age of Video. By Ralph A. Litzinger. American Anthropologist. Vol. 102 No. 3 (September 2000).
• Review of Narrative Mortality: Death, Closure and New Wave Cinemas.  By Jim Leach. Canadian Journal of Film Studies 5:1 (Spring 1996): 83-87.