Essays and Book Chapters
Peer Reviewed Essays
‘The Who and Pop Art: the simple things you see are all complicated’
Journal of Popular Music Studies Vol.29, #1 (March 2017), 17pp.
‘Pix Biz Spurts with War Fever’: film and the public sphere - cycles and topicality
Film History Vol.25, #1&2 (2013)
‘Intent to Speed: Cyclical Production, Topicality and the 1950s Hot Rod Movie’
New Review of Film and Television Studies Vol. 11, #1 (2013), pp. 34-55.
‘Notes Towards a Theory of Cyclical Production and Topicality in American Film’
Iluminace: Journal of Film History, Theory, and Aesthetics, 25:3 (Autumn, 2012), pp. 153-59.
‘Regular Novelties: Lawrence Alloway’s Film Criticism’
Tate Papers #16 (Autumn 2011) pp.1-9
‘Crossover: Sam Katzman’s “Switchblade Calypso Bop Reefer Madness Swamp Girl” or ‘Bad Jazz,’ Calypso, Beatniks, and Rock ’n’ Roll in 1950s Teenpix’
Popular Music Vol. 29 # 3 (Autumn 2010), 437-456.
‘Maximum Movies: Lawrence Alloway’s Pop Art Film Criticism’
Screen Vol. 49, #2 (Summer, 2008), pp.179-93.
‘Notes Toward a History of the Edinburgh International Film Festival, ‘69-77’
Film International, Vol. VI #4 (Summer, 2008), pp. 62-71.
‘A Monarch for the Millions: Jewish Filmmakers, Social Commentary & the Postwar Cycle of Boxing Films’
Film Studies: an international review #7 (Winter 2005), pp. 66-82.
‘The Last Scene of the Titanic: Vernacular American Phonograph Recordings’
Interdisciplinary Literary Studies Vol. 5, #1 (Fall, 2003), pp. 21-33.
‘An Excursion into the Lower Depths: Hollywood, St. Louis Blues, and Urban Primitivism.’
Cinema Journal Vol. 41 #2 (Winter, 2002), pp. 84-108.
‘“An Octoroon in the Kindling”: American Vernacular & Blackface Minstrelsy in 1930s Hollywood.’
Journal of American Studies Vol. 31, #3 (1997), pp. 407- 438.
‘Heritage Design: The Harley-Davidson Motor Company.’
Journal of Design History Vol. 5, #2. 1992. pp. 141-155.
‘The Western 1909-14: A Cast of Villains.’
Film History Vol. 1, #2. (1987), pp.97-112.
Chapters in Edited Collections
‘Run, Angel, Run: Serial Production & the Biker Movie’
Austin Fisher & Johnny Walker (eds.), Grindhouse: Cultural Exchange on 42nd St and Beyond (New York: Bloomsbury, 2016)
‘From the Barroom: American Song, Saloon Culture, Stack O’Lee and Wild Bill, or “Did you touch my hat?”’
Kathryn Kalinak (ed.), Music in the Western: Notes from the Frontier (New York: Routledge, 2011), 183-202.
‘Punks! Topicality and the 1950s Gangster Bio-Pic Cycle’
Kingsley Bolton & Jan Olsson (eds.), Media, Popular Culture and the American Century (Stockholm: National Library of Sweden, 2010), 185-215.
‘“Got-to-See’: Teenpix and the Social Problem Picture – Trends and Cycles’
Roy Grundmann, Cynthia Lucia, & Art Simon (eds.), Wiley-Blackwell History of American Film 1946 to 1975 Volume III (New York: Blackwell, 2012), 220-240.
‘Going Underground with Manny Farber & Jonas Mekas’
Daniel Biltereyst, Richard Maltby, & Philippe Meers (eds.), Explorations in New Cinema History: Approaches and Case Studies (Cambridge: Blackwell, 2011), 212-225.
‘A Monarch for the Millions: Jewish Filmmakers, Social Commentary & the Postwar Cycle of Boxing Films’
Frank Krutnik, Steve Neale, Brian Neve, & Peter Stanfield (eds.), “Un-American” Hollywood: Politics & Film in the Blacklist Era (2007), 79-96.
‘“American Like Chop Suey”: Invocations of Gangsters in Chinatown 1920-35’
Lee Grieveson, Esther Sonnet, & Peter Stanfield (eds.), Mob Culture: Hidden Histories of the American Gangster Film (2005), 238-62.
‘Walking the Streets: Black Gangsters and the “Abandoned City” in the 1970s Blaxploitation Cycle’
Lee Grieveson, Esther Sonnet, & Peter Stanfield (eds.), Mob Culture: Hidden Histories of the American Gangster Film (2005), 281-300.
‘“Good Evening, Gentleman, Can I Check Your Hats Please?”: Masculinity, Dress and the Retro Gangster Cycles of the 1990s’
Lee Grieveson, Esther Sonnet, & Peter Stanfield (eds.), Mob Culture: Hidden Histories of the American Gangster Film (2005), 163-84.
‘“Film Noir Like You’ve Never Seen”: Jim Thompson Adaptations and Cycles of Neo Noir’
Steve Neale (ed.), Genre and Contemporary Hollywood (London: British Film Institute, 2002), 251-68.
‘“Extremely Dangerous Material”: Hollywood and the Ballad of Frankie and Johnny’
Daniel Bernardi (ed), Classic Hollywood, Classic Whiteness (Minneapolis: University of Minnesota Press, 2001), 442-465.
‘From the Vulgar to the Refined: American Vernacular & Blackface Minstrelsy in Showboat (1936)’
Bill Marshall & Robynn Stillwell (eds.), Musicals: Hollywood and Beyond (Exeter: Intellect Press, 2000), 147-156.
‘Dixie Cowboys & Blue Yodels: The Strange History of the Singing Cowboy’
Ed Buscombe & Roberta Pearson (eds.), Back in the Saddle Again: New Essays on the Western (London: British Film Institute, 1998), 96-117.
‘Country Music & the 1939 Western: From Hillbillies to Cowboys’
Ian Cameron & Douglas Pye (eds.), The Movie Book of the Western (London: Studio Vista, 1996), 22-33.