Argues that Nietzsche’s idea of the Übermensch was a central concern of filmmakers in the 1920s and 1930s.

A deeply personal study of post-9/11 film that exposes how genre can frame the shifting meanings of the War on Terror and its impact on American law and culture.

Argues that Irish American masculinity functioned to negotiate, consolidate, and reinforce hegemonic whiteness in Hollywood cinema from 1930 to 1960.

Examines the ways in which post-apocalyptic films express white racial anxiety.

A unique exploration of contemporary filmmaking from cinema’s ultimate insiders.

Studies the force of action, motion, and vision in the early cinema of Hollywood director Raoul Walsh.

Traces the circulation of Hollywood films in North Africa and the Middle East from the early twentieth century to the present.

Examines the filmic representation of Whiteness as Indigeneity and its role in mediating racial politics in Mexico.

Considers how Hollywood films since the 1960s have both reflected and shaped attitudes toward rape and sexual violence.

A powerful and original statement on the nature of film and the intimate relation of “film imagination” to our lives as human beings in the world.

Explores how nostalgia operates in contemporary US film and television.

Uses extensive archival research to explore the manifold contributions of foreign film workers to emerging film industries in Latin America from the 1930s to early 1940s.

How films of the 1960s and early 1970s framed therapeutic issues as problems of human communication, and individual psychological problems as social ones.