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 2021-05-01 to 2025-05-01.)
ArticleCitations
From Self-Promotion to Demystification: Self-Reflexivity and Realism in Chinese Cinema4
Bedraggled Magnolias: Song of the South's 1986 Return to Atlanta3
Editor's Introduction2
“A Truer Test of Woodcraft”: Bell & Howell Camera Advertising, Nature Magazine, and the Creation of the Modern “Camera Hunter”1
“Othering Africa”: The Representation of Africa in Chinese Films1
Ethics in Documentary Film Production: Asserting and Changing Norms1
Awakening from Neoliberal Rationalities: The Ecological Conversion of Brit Marling's Protagonist inThe East1
The Dance Company Film1
Eleanor Roosevelt on Screen: The First Lady's Appearances in Film and Television, 1932–19621
My Love Is in Cairo (1966): Pan-Arab, Commercial, and Asymmetrical Collaborations between Egypt and Yemen1
Queer Child, Decolonial Child: Beasts of the Southern Wild Revisited through an Ecocritical Lens0
Editor's Introduction0
Editor's Introduction0
To Have and to Hold: The Possessive Spectator, the Spinster Narrative, and Katharine Hepburn in David Lean’sSummertime(1955)0
Transcendental Style Reconsidered: Absence, Presence, and a “Place Which Is Not-a-Place”0
Star Wars After Lucas: A Critical Guide to the Future of the Galaxy0
Facing the End of the World:Take Shelteras Horror Ecocinema0
Building a Timeline for LGBTQ+ Global Cinemas (1910–2019): Movie Production Trends from a Collaborative Internet Cinema Database0
The Imaginary in the Biopic: Deconstructing Convention in Ron Howard’s A Beautiful Mind (2001)0
More Human Than Human: The Exile in Blade Runner0
The Divine President: Populism, Political Theology, and Gabriel over the White House0
Editor's Introduction0
“Everything for Someone”: The Evolution of Sundance Now's Specialty Streaming Service0
Riding East—Western Myths, Nostalgia, and the Crossing of Generic Boundaries in Hidalgo (2004)0
Editor's Introduction0
An Ecological Context That Scars: Reflections on Three Nature Documentaries of 20200
Ideological Baggage: An Analysis of Sully (Clint Eastwood, 2016) and Flight (Robert Zemeckis, 2012)0
Editor's Introduction0
Editor's Introduction0
Disability as Fear Factor: Stereotyping of Disability in Malayalam Horror Cinema0
Automobility in Daniel Oriahi's Taxi Driver: Oko Ashewo (2015) and Rogba Arimoro's Tokunbo (2019)0
Imperiled Whiteness: How Hollywood and Media Make Race in “Postracial” America0
Encounters in Video Art in Latin America0
Editor's Introduction0
According to the Narrator, It Was a Dark and Stormy Night: Styles of Narration-as-Advocation in True-Crime Documentary Series0
Roasting Mulan: Chinese Cultural Confidence and Tucao Video Remixes on Bilibili0
Reconstructing the Uncertain Past: Cracked Docudramas That Question Their Own Authority0
“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
Defining New Thai Cinema through the Filmographies of Nonzee Nimibutr, Pen-ek Ratanaruang, Apichatpong Weerasethakul, and Wisit Sasanatieng0
There's No Place Like Home(land) in American and Soviet Fantasy Cinema of 1939: The Wizard of Oz and Vasilisa the Beautiful0
Before Fanfiction: Recovering the Literary History of American Media Fandom0
Academic Freedom and Freedom of Expression in the University Film and Video Association: Creating Legitimacy for Asserting Norms0
Stranger Things, Nostalgia, and Aesthetics0
Kenneth Anger and the Filmed-Archive Reenactment0
“Narrative Life” in Film and the Role of Screenwriting Practices0
The Paradox of Steve Coogan: Performing Class in British Film Acting0
Challenging the Narrative: Documentary Film as Participatory Practice in Conflict Situations0
Camp X-Ray and the Task of Critique: Torturability and the Politics of Ethical Recognition in Guantanamo0
Amphibious Magical Realism? The Shape of Water as Cinematic Trauma Narrative0
Automotive Associations in Post–New Wave Films by Czech Directors0
Editor's Introduction0
A Study of Mordor and Coruscant as Paradigms of Neo-Baroque Digital Landscapes0
The Omnipresent Gaze: Exploring Surveillance in Amir Naderi's Goodbye Friend (1971)0
Middle of Nowhere (2012): Waiting Studies, Cinema, and Temporal Experience0
“Beauty and the Beast”: Romance, Reform, and Mystery in the Films of Lon Chaney0
Americanizing the Scandinavian Super Underdog in Eighteen Film Remakes0
The Hippie, the Cowboy, and the City: Aesthetic and Political Layers in Tarantino's Once upon a Time . . . in Hollywood0
Violence against Women and Girls: Female Filmmakers Critique the Menace0
What Is Cinematography in the Age of Virtual Film Production? Posing a New Definition for the Practice of Cinematography0
Atomic Tests: Experimental Filmmaking in the Nuclear Era0
Pitch Decks, Project Development, and Creative Labor for Contemporary Hollywood TV Series0
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 Disneyfication of Authorship: Above-the-Line Creative Labor in the Franchise Era0
UFVA’s 2020 Virtual Conference: A Path Forward0
Forum on Artificial Intelligence0
Direct-to-Video (On Demand): New Industrial and Cultural Valuations of Nontheatrical Film Releases0
From Sundance to Netflix: South Korean Cinema in the US Film Market, 1996–20240
Wooded and Watery Landscapes: Evolving Hollywood Depictions of “the Wilderness” and “the Frontier”0
“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
“This Is What's Real”: The Pathology of Black Addiction in the Hood Films of the 1990s0
Time Bomb from the West: Video, the Advertising Industry, and Consumer Culture in Late-Socialist Czechoslovakia0
Acting and Race in Night of the Living Dead (1968)0
Documentary Film and the Flint Water Crisis: Incorporating the Sociological Imagination0
Why Is Reverse Motion Funny? Happy End and the Comic Potential of the Cinematographic Mechanism0
Talking Back through Peripheral Visions and Negotiating Identity: Kokborok and Bengali Films and Music Videos in Tripura0
Contrasting Depictions in 1920s Italian and British Colonial Missionary Documentaries0
Generic Involution and Artistic Concession in Contemporary Hong Kong Cinema: Overheard Trilogy and Beyond0
Interview with Terésa Dowell-Vest0
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