New Review of Film and Television Studies

Article	Citations
“It’s not really a cat”: art, media, and queer wildness inCat People(1942, 1982)	6
Indie cinema online	3
“I want to be good:” morality, faith, and female spectatorial pleasure during World War I	3
TV plus what? data-capital, brand extension, and lock-in effects in the Apple ecosystem	3
The landscapes of western movies: a history of filming on location, 1900–1970	3
Their own best creations: women writers in postwar television Their own best creations: women writers in postwar television , by Annie Berke, Oakland, University of Cali	3
Reading Joey Soloway: popularizing feminist and queer theory in independent film and television	2
Highroads and skyroads: mountain roadbuilding in U.S. government films of the 1920s and ‘30s	2
The process genre: cinema and the aesthetic of labor	2
Commodity horror:Videodromeand the industrialisation of Canadian culture	2
Reese Witherspoon’s popular feminism: adaptation and authorship in Big Little Lies	2
‘Fully authenticated by respected scientists’: fact, fiction, and the roots of paranormal reality shows in American television history	2
Special dossier introduction: horror fans and audiences	1
The category is: streaming queer television	1
Introduction: women’s authorship and adaptation in contemporary television	1
‘Englishmen could be proud then, George’: echoes of empire in Tinker Tailor Soldier Spy (BBC 1979)	1
I’ll Be Gone in the Dark: feminism and the adaptation of true crime in the #MeToo era	1
Sway of the sea: Kathryn Bigelow’s imperial eco-eschatology	1
Heightened genre and women’s filmmaking in Hollywood: the rise of the cine-fille	1
Entering the Walloon Gothic: nationalist border crossing and othering in contemporary Flemish cinema	1
Walkman time machine	1
Shyam Benegal’s India: alternative images	1
Screening fears: on protective media	1
“It’sTop Chef, not a personality contest”: grammars of stereotype, neoliberal logics of personhood, and the performance of the racialized self inTop Chef: New York	1
Cinematic figurations of mountains	1

Hidden in plain sight: the spatial and industrial logics of home fitness technologies	1
New blood in contemporary cinema: women directors and the poetics of horror	1
The Australian film revival: 1970s, 1980s, and beyond	1
Genre cinema and cinemaSui Generis: Adrian Piotrovsky and cinema taxonomy	0
Sonic modernities: capitalism, noise, and the city essay film	0
‘Scream for your lives!’: the philosophy of horror in William Castle’s The Tingler (1959)	0
The filmmaker’s presence in French contemporary autofiction: from filmeur/filmeuse to acteur/actrice	0
Wonder, horror, mystery: letters on cinema and religion in Malick, Von Trier, and Kieślowski	0
Representing public service and post-militariness inBodyguard(BBC, 2018)	0
Reconsidering remarriage: Stanley Cavell and the vicissitudes of genre	0
Mediating the elemental: an immaterialist ethics for ecomaterialist media theory	0
The Gulliver effect: screen size, scale and frame, from cinema to mobile phones	0
Murky waters: Incident at Loch Ness, Grizzly Man, and Herzogian notions of truth	0
Nostalgia, satire, and subcultural capital at the drive-in: examining horror host Joe Bob Briggs as a cultural intermediary	0
Transmedia-genre: non-continuity, discontinuity, and continuity in the global 80s	0
No longer “As Crappy as Possible”?: Cult sensibilities and the high-definition revisioning and “Unbleeping” of early seasons ofSouth Park	0
Perplexing plots: popular storytelling and the poetics of murder	0
Screen media and the construction of nostalgia in post-socialist China	0
The political dimension of ekphrasis	0
Audiovisual tourism promotion: a critical overview	0
Suggestive verbalizations in film: on character speech and sensory imagination	0
There is no such thing as one realism: systematising André Bazin’s film theory	0
‘This is my house now!’: Fighting with My Family , the female underdog and constructing a public history of WWE	0
The performance of labor and downward mobility in Steven Soderbergh’s recession trilogy (2009–2012): The Girlfriend Experience , Haywire ,	0
Interactive documentary: theory and debate	0
‘The All-American Smile:’ the deconstruction of Robert Redford’s star persona in David Lowery’s The Old Man & the Gun	0
Fiction as a challenge to text-oriented film studies	0
A queer way of feeling: girl fans and personal archives of early Hollywood A queer way of feeling: girl fans and personal archives of early Hollywood , by Diana W. Ansel	0
Double vision: global irony in Brian De Palma’s Sisters (1972)	0
Subversive pedagogies: the remembered impacts of children’s horror television on millennial Australian audiences	0
How documentaries went mainstream: a history, 1960–2022	0
Problems with Kubrick: reframing Stanley Kubrick through archival research	0
ImaginingTaking Tiger Mountain(by strategy): two landscapes of the Anthropocene, 1970 and 2014	0
“Have you got any soul?”: reinterpreting High Fidelity ’s relationship to Black cultural production	0
Queer times in Moonlight	0
Classical Hollywood cinematographers and the cultural capital of television	0
Landscape and the moving image	0
How does she look?: Bigelow’s vision/visioning Bigelow	0
Dangerous exchange students: Battle Royale and transcultural fans’ intertextual gatekeeping	0
Bluebeard meets Ivy: the botany of love in Paul Thomas Anderson’s Phantom Thread	0
Looks that kill: Double Indemnity (1944) reimagined in postmodern neo-noir and television	0
Ghost riders: Kelly Reichardt, certain women, certain men	0
Adaptation, authorship and the critical conversations of Little Fires Everywhere	0
The elevator film: neither here nor there	0
Flowers, concrete, water: care and precarity in Tsai Ming-liang’s I Don’t Want to Sleep Alone (2006)	0
Over the corporate rainbow: LGBTQ film festivals and affective media networks	0
A dream deferred: race, space and urban representation in the films of Steve James	0
Labors of love	0
George Miller’s “old-fashioned Hollywood studio”: corporate authorship at Kennedy Miller, 1981–1991	0
Othered form and insectile subjectile: Under the Skin	0

Innovating the frame: Kathryn Bigelow in close-up	0
Live-action mistake: Disney’s Mulan (2020), failure analysis, and media industry studies	0
ReFocus: the films of John Hughes	0
Modern European cinema and love	0
A note of introduction	0
Earners and spenders, husbands and wives: the affective restraints on women’s labor in high Cold War American sitcoms	0
The poetics of obsession: understanding Kathryn Bigelow’s characters	0
From the extraordinary to the everyday: discourses on American quality serial television in Sweden’s leading newspapers and the breakthrough of streaming TV	0
Contemporary Balkan cinema: transnational exchanges and global circuits	0
‘Punching above our weight’: industry visibility and community engagement in rural and regional film festivals	0
Hand painted movie stills: a study of the aesthetics of the cinematographic space in painted scenography	0
Digital space and embodiment in contemporary cinema: screening composite spaces Digital space and embodiment in contemporary cinema: screening composite spaces , by Jenn	0
Black box universe: the mind-game phenomenon, the hacker film, and the new millennium	0
Televisual authorship and the affective feminism of HBO’s Sharp Objects adaptation	0
Starmaker: David O. Selznick and the production of stars in the Hollywood studio system	0
Contemporary horror on physical media: prestige releasing and cult consumption in the case of Second Sight’s distribution practices	0
Highways through the void: chase sequences and the built environment	0
Transmedia terrors in post-TV horror: digital distribution, abject spectrums and participatory cultures	0
Roundtable on women’s authorship and adaptation in contemporary television	0
Child spectators: towards a phenomenological perspective on the imaginary transformations of reality	0
‘Bad’ women of Bombay films: studies in desire and anxiety	0
Cinema against doublethink: ethical encounters with the lost pasts of world history	0
Futures past and present: history, architecture and dystopia in Brazil (1985) and the Hunger Games series (2012-15)	0
Introduction: queer/trans media now	0
‘Breathe in for your vitality’: the breath as the nexus of meaning in Ari Aster’s Midsommar	0
The mind-game film: distributed agency, time travel, and productive pathology	0
V.F. Perkins and the redescription of films	0
E pluribus Unum : toward a poetics of the TV anthology	0
Kathryn Bigelow as a neo-star director	0
Melancholy, respectability, and credibility in Sean Baker’s Tangerine	0
Female Convict Scorpion : production context, gender politics, and cinematic excesses in a Japanese women-in-prison film series	0
‘This I rebel against’: television advertising, Rod Serling’sThe Twilight Zone, and a changing industry	0
Martial culture, silver screen: war movies and the construction of American identity	0
Feng Xiaogang’s haunted utopia, Chinese modernity, and carnivalesque social critique in the era of Xi Jinping	0
Towards a catalogue of cine-genres	0
Music in action film: sounds like action!	0
A ‘solution to an ongoing TV problem’: the rebooted limited series as quality TV format	0
Here to stay: death, mourning and hauntology in Denis Côté’s Répertoire des villes disparues (2019)	0
Death and collective autobiography in Silverlake Life: The View from Here	0
Dementia and contemporary horror movies: gendered ageing and the haunted home	0
The new female antihero: the disruptive women of twenty-first-century US television	0
Diegetic existence: transmedia instauration in artists’ cinema	0
What is not real can be felt into being: affective threat in Jordan Peele’s Get Out	0
Girls gone wild: animality, female teenagers, and disidentification in contemporary European cinema	0
Film bleu: the development of cinematic aesthetics and disavowal of cultural traditions in Hong Kong crime cinema	0
The (un)natural history film: formalist tendencies old and new	0
Revisionary metaphysics in Ken Russell’s Altered States (1980): on the ontological subversiveness of psychedelic sequences	0
“The mother is a child, too”: neoliberal segmentarity, reproductive futurism, and relationality in Enlightened	0
Rust belt grindhouse: Deadbeat at Dawn and the gentrification of East Dayton’s warehouse district	0
Affective production value on queer community television: a case study of the Gay Cable Network and Gay USA	0
Australian genre film	0
Beyond the algorithm: curating a streaming library for documentaries	0
Powerful women, postfeminism, and fantasies of patriarchal recuperation inMagnificent Century	0
Telling one another’s stories: the city symphony and cine-genre narrative	0
Kathryn Bigelow: new action realist	0
Cityscapes, trance states, and women walking: embodied practices of walking in experimental film and video	0
Anti-Heimat cinema: the Jewish invention of the German landscape	0
Documentary’s expanded fields: new media and the twenty-first-century documentary	0
Transformational ethics of film: thinking the cinemakeover in the film-philosophy debate	0
The value gap: female-driven films from pitch to premiere	0
Shit happens on the big screen: faecal motifs in contemporary film	0
Cine-genres redux	0
On longing for loss: a theory of cinematic memory and an aesthetics of nostalgia	0
Outside and inside the time machines: structure and subjectivity in Alain Resnais’s Je t’aime, je t’aime	0
‘Unique joy’: Netflix, pleasure and the shaping of queer taste	0
Hollywood’s embassies: how movie theaters projected American power around the world	0
Reshaping production practices: European film festivals, new Indonesian cinema, and the creative producer	0
The aesthetics of impasse and the affective rhythms of survival: Andrea Arnold’sFish Tankas cinema of precarity	0
The limitation of the bottle episode: Hegel in Community	0
Activist horror film: the genre as tool for change	0
Cinematic cultures of descent: the other sides of the mountaineering story	0
List of Reviewers 2020–2023	0
Introduction: Transnational Horror Media Now	0
On Xavier Dolan’s musical parentheses	0
‘Humanity rising from the depths of brine’: an oceanic politics in Disney’s Moana	0
“Throwing shows against the wall and hoping for the best”: NBC, quality, and the Emmy race for Outstanding Drama Series in the 2010s	0
Zero Dark Thirty, Maya and the myth of the Calydonian Boar	0
Screening contemporary Irish fiction and drama Screening contemporary Irish fiction and drama , edited by Marc C. Conner, Julie Grossman, and R. Barton Palmer, Cham, Pal	0
Woman up: invoking feminism in quality television Woman up: invoking feminism in quality television , by Julia Havas, Detroit, Wayne State University Press, 2022, 282 pp	0
The fantasies of Black Final Girls	0

RevisitingBrokeback Mountain– how mountains matter, or: melodrama, melancholy, (im-)mobility	0
Dial M for Murder: the detective thriller, the postwar uncanny, and 3D cinema	0
More to the picture than meets the eye: ecocinema, landscape, and James Benning’s Deseret	0
“Some things are proper, and some things are not”: forgotten men and disciplined women inMy Man Godfrey	0
That’s not funny: how the right makes comedy work for them	0
Consent culture and teen films: adolescent sexuality in US movies	0
The problem of film comedy in the twenty-first century	0
Time, disaster, new media:Your Nameas a mind-game film	0
American Horror Story and cult television: narrative, histories and discourses	0
Changing the reflection: re-visions on the trans mirror scene	0
Of fleas and Parasite : unpacking class and space in Bong Joon-ho’s Barking Dogs Never Bite	0
Variations on ‘the lonely walk’ in the films of Kathryn Bigelow	0
Encounters through books of light: uncanny television and media archaeology in The Living and the Dead	0
‘Use your white voice’: race, sound, and genre in Sorry to Bother You	0
Ambiguous images of Soviet-Kyrgyz mountainscapes in The Sky of Our Childhood (1966)	0
Brooklyn: gendered Irish migration to the United States	0
Lost souls, victims and deviants: radicalization and gender in Agents of S.H.I.E.L.D .	0
Transmasculinity on television Transmasculinity on television , by Patrice Oppliger, New York, Routledge, 2022, 120 pp., $64.95 (hardback), ISBN: 9781032068985	0