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15.4 The Distraction of Symbolism, ASAP Journal, September 2020.
Thinking Through Camille Billops, Another Gaze, October 2019.
Chére Ja’Tovia, Chére Joséphine, Revue Initiales: Joséphine Baker, 13 (2019), 34-40.
Formal Distance: Fellowship and Concentration in the Films of Kevin Jerome Everson, Mubi, September 2018.
Working Over Time: Labor in Kevin Jerome Everson’s Films, I Really Hear That: Quality Control and Other Films, DVD, Video Data Bank, 2017.
Josephine Baker’s French African American Films, in media res, August 2014.
Introduction to Unexpected Archives: More Locations of Caribbean Cinema, sx salon October 2014.
Whose ‘Black Film’ is This? The Pragmatics and Pathos of Black Film Scholarship, Cinema Journal 53.4 (2014): 146-150.
Looking Sharp: Performance, Genre and Questioning History in Django Unchained. Transition 112 (2013): 32-45.
Meditation. In Close-Up section on Afrosurrealism. Guest Editor and Contributor. Thematic discussion, Black Camera 5.1 (2013): 94.
Introduction: The No-Theory Chant of Afrosurrealism. In “Close-Up section on Afrosurrealism.” As Guest Editor and Contributor. Thematic discussion, Black Camera 5.1 (2013): 95-112.
Can’t Stay, Can’t Go: What is History to a Cinematic Imagination? Black Camera 3.2 (2012): 128-139.
Sounding the Nation: Martin Rennalls and the Jamaica Film Unit, 1951-1961. Film History 23.2 (2011): 110-128.
Flickers of the Spirit: Black Independent Film, Reflexive Reception and a Blues Cinema Sublime. Black Camera 1.2 (2010): 7-24.
I and I: Elizabeth Alexander’s First-Person Voice, the Witness, and the Lure of Amnesia. Gender Forum 22 (2008).
What Does Beyoncé See in Josephine Baker?: A Brief Film History of Sampling the La Diva, La Bakaire. The Scholar & Feminist Online. 6.1-6.2 (2007/2008).
Embodied Fictions, Melancholy Migrations: Josephine Baker’s Cinematic Celebrity, Modern Fiction Studies 51.4 (2005): 824-845.