Essays &
Academic Articles

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Essays 

Where is the love?: Seeking intimacy in Josephine Baker's films, Salon

Terri Simone Francis's Playlist for Her Book "Josephine Baker's Cinematic Prism", Largehearted Boy

Existence as Resistance: How Josephine Baker Challenged Misogynoir, LitHub

15.4 The Distraction of Symbolism,  ASAP Journal, September 2020.

Thinking Through Camille Billops, Another Gaze, October 2019.

Mati Diop’s Atlantiques (2009), #DirectedbyWomen, June 2019.

Chére Ja’Tovia, Chére JoséphineRevue Initiales: Joséphine Baker, 13 (2019), 34-40. 

WhoWhatWhenWhere is Jamaican Cinema?  A Place for CinemaMarch 2019.

Formal Distance: Fellowship and Concentration in the Films of Kevin Jerome Everson, Mubi, September 2018.

Chanting Afrosurrealism: Primer to Avant-Noir 2 at IU Cinema, A Place for Cinema, January 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. 

Get to Know the Feminist Filmmaker Who Vandalizes Commercials, August 2013.

Academic Articles 

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 AmnesiaGender Forum 22 (2008).

What Does Beyoncé See in Josephine Baker?: A Brief Film History of Sampling the La Diva, La  BakaireThe 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.

TERRI FRANCIS