SUNY series, Horizons of Cinema – serie

Rebel Without a Cause

Approaches to a Maverick Masterwork

Apocalyptic Dread

American Film at the Turn of the Millennium

Exile Cinema

Filmmakers at Work beyond Hollywood

Ecology and Popular Film

Cinema on the Edge

Three Documentary Filmmakers

Errol Morris, Ross McElwee, Jean Rouch

Second Takes

Critical Approaches to the Film Sequel

Fantastic Voyages of the Cinematic Imagination

Georges Méliès's Trip to the Moon

Hitchcock

The Murderous Gaze

Native Recognition

Indigenous Cinema and the Western

Native Recognition

Indigenous Cinema and the Western

Lonely Places, Dangerous Ground

Nicholas Ray in American Cinema

Lonely Places, Dangerous Ground

Nicholas Ray in American Cinema

B Is for Bad Cinema

Aesthetics, Politics, and Cultural Value

Bad Seeds and Holy Terrors

The Child Villains of Horror Film

Bombay before Bollywood

Film City Fantasies

Very Old Machine

The Many Origins of the Cinema in India

Binghamton Babylon

Voices from the Cinema Department, 1967-1977

Ghost Faces

Hollywood and Post-Millennial Masculinity

Ghost Faces

Hollywood and Post-Millennial Masculinity

Encounters with Godard

Ethics, Aesthetics, Politics

Encounters with Godard

Ethics, Aesthetics, Politics

Invented Lives, Imagined Communities

The Biopic and American National Identity

Regarding Life

Animals and the Documentary Moving Image

John Huston as Adaptor

Hitchcock's Moral Gaze

Gestures of Love

Romancing Performance in Classical Hollywood Cinema

Ripping England!

Postwar British Satire from Ealing to the Goons

Rx Hollywood

Cinema and Therapy in the 1960s

Immanent Frames

Postsecular Cinema between Malick and von Trier