Journal of Film and Video

Papers
(The TQCC of Journal of Film and Video is 0. The table below lists those papers that are above that threshold based on CrossRef citation counts [max. 250 papers]. The publications cover those that have been published in the past four years, i.e., from 2020-11-01 to 2024-11-01.)
ArticleCitations
Stranger Things, Nostalgia, and Aesthetics3
“Narrative Life” in Film and the Role of Screenwriting Practices2
The Disneyfication of Authorship: Above-the-Line Creative Labor in the Franchise Era2
Cruising the Hyper-Real Highway: Edgar Wright’s Baby Driver1
“I’m Taken … by Myself”: Romantic Crisis in the Self-Centered Indie Rom-Com1
Building a Timeline for LGBTQ+ Global Cinemas (1910–2019): Movie Production Trends from a Collaborative Internet Cinema Database1
Americanizing the Scandinavian Super Underdog in Eighteen Film Remakes1
“This Is What's Real”: The Pathology of Black Addiction in the Hood Films of the 1990s1
Atomic Tests: Experimental Filmmaking in the Nuclear Era1
Awakening from Neoliberal Rationalities: The Ecological Conversion of Brit Marling's Protagonist inThe East1
Camp X-Ray and the Task of Critique: Torturability and the Politics of Ethical Recognition in Guantanamo1
To Have and to Hold: The Possessive Spectator, the Spinster Narrative, and Katharine Hepburn in David Lean’sSummertime(1955)0
Riding East—Western Myths, Nostalgia, and the Crossing of Generic Boundaries in Hidalgo (2004)0
Encounters in Video Art in Latin America0
UFVA’s 2020 Virtual Conference: A Path Forward0
Editor's Introduction0
Editor's Introduction0
Generic Involution and Artistic Concession in Contemporary Hong Kong Cinema: Overheard Trilogy and Beyond0
Star Wars After Lucas: A Critical Guide to the Future of the Galaxy0
Before Fanfiction: Recovering the Literary History of American Media Fandom0
The Dance Company Film0
Acting and Race in Night of the Living Dead (1968)0
From the Opening Sequence ofCitizen Kaneto the Final Shot ofThe Birds: A Filmic Microanalysis of Three Painted Scenes0
Talking Back through Peripheral Visions and Negotiating Identity: Kokborok and Bengali Films and Music Videos in Tripura0
“Beauty and the Beast”: Romance, Reform, and Mystery in the Films of Lon Chaney0
Ideological Baggage: An Analysis of Sully (Clint Eastwood, 2016) and Flight (Robert Zemeckis, 2012)0
Wooded and Watery Landscapes: Evolving Hollywood Depictions of “the Wilderness” and “the Frontier”0
Queer Child, Decolonial Child: Beasts of the Southern Wild Revisited through an Ecocritical Lens0
A Study of Mordor and Coruscant as Paradigms of Neo-Baroque Digital Landscapes0
Academic Freedom and Freedom of Expression in the University Film and Video Association: Creating Legitimacy for Asserting Norms0
Imperiled Whiteness: How Hollywood and Media Make Race in “Postracial” America0
The Omnipresent Gaze: Exploring Surveillance in Amir Naderi's Goodbye Friend (1971)0
Back Matter0
The Imaginary in the Biopic: Deconstructing Convention in Ron Howard’s A Beautiful Mind (2001)0
Facing the End of the World:Take Shelteras Horror Ecocinema0
More Human Than Human: The Exile in Blade Runner0
Editor's Introduction0
“A Truer Test of Woodcraft”: Bell & Howell Camera Advertising, Nature Magazine, and the Creation of the Modern “Camera Hunter”0
Middle of Nowhere (2012): Waiting Studies, Cinema, and Temporal Experience0
Direct-to-Video (On Demand): New Industrial and Cultural Valuations of Nontheatrical Film Releases0
Front Matter0
Forum on Artificial Intelligence0
Pitch Decks, Project Development, and Creative Labor for Contemporary Hollywood TV Series0
Amphibious Magical Realism? The Shape of Water as Cinematic Trauma Narrative0
Editor's Introduction0
“Why Don't You Go Down to Wall Street and Get Some Real Crooks?”: Capitalism and Masculinity in GoodFellas, Casino, and The Wolf of Wall Street0
“White Girls, They Get You Every Time”: Get Out's Horror of Miscegenation and Its Conception of the Black Bro'mance0
Audiovisual Silence: A Lever for Narrative Change and Transition0
Editor's Introduction0
From Self-Promotion to Demystification: Self-Reflexivity and Realism in Chinese Cinema0
Editor's Introduction0
What Is Cinematography in the Age of Virtual Film Production? Posing a New Definition for the Practice of Cinematography0
There's No Place Like Home(land) in American and Soviet Fantasy Cinema of 1939: The Wizard of Oz and Vasilisa the Beautiful0
Eleanor Roosevelt on Screen: The First Lady's Appearances in Film and Television, 1932–19620
Front Matter0
Back Matter0
“Everything for Someone”: The Evolution of Sundance Now's Specialty Streaming Service0
Ethics in Documentary Film Production: Asserting and Changing Norms0
Kenneth Anger and the Filmed-Archive Reenactment0
Changing Perceptions of Buster Keaton's 1926 The General0
Neoliberalism and Disclosure's New Trans Activism: The Politics of Discrimination in Hollywood and How to Fight It0
The Ultimate Ride: A Comparative Narrative Analysis of Action Sequences in 1980s and Contemporary Hollywood Action Cinema0
The Paradox of Steve Coogan: Performing Class in British Film Acting0
Time Bomb from the West: Video, the Advertising Industry, and Consumer Culture in Late-Socialist Czechoslovakia0
Violence against Women and Girls: Female Filmmakers Critique the Menace0
An Ecological Context That Scars: Reflections on Three Nature Documentaries of 20200
Automobility in Daniel Oriahi's Taxi Driver: Oko Ashewo (2015) and Rogba Arimoro's Tokunbo (2019)0
Documentary Film and the Flint Water Crisis: Incorporating the Sociological Imagination0
Interview with Terésa Dowell-Vest0
According to the Narrator, It Was a Dark and Stormy Night: Styles of Narration-as-Advocation in True-Crime Documentary Series0
Editor's Introduction0
Defining New Thai Cinema through the Filmographies of Nonzee Nimibutr, Pen-ek Ratanaruang, Apichatpong Weerasethakul, and Wisit Sasanatieng0
Contrasting Depictions in 1920s Italian and British Colonial Missionary Documentaries0
Automotive Associations in Post–New Wave Films by Czech Directors0
Reconstructing the Uncertain Past: Cracked Docudramas That Question Their Own Authority0
Challenging the Narrative: Documentary Film as Participatory Practice in Conflict Situations0
Why Is Reverse Motion Funny? Happy End and the Comic Potential of the Cinematographic Mechanism0
Transcendental Style Reconsidered: Absence, Presence, and a “Place Which Is Not-a-Place”0
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