OOIR: Observatory of International Research

Papers

(The median citation count of Journal of Film and Video is 0. The table below lists those papers that are above that threshold based on CrossRef citation counts [max. 250 papers]. The publications cover those that have been published in the past four years, i.e., from 2021-04-01 to 2025-04-01.)

Article	Citations
The Imaginary in the Biopic: Deconstructing Convention in Ron Howard’s A Beautiful Mind (2001)	4
What Is Cinematography in the Age of Virtual Film Production? Posing a New Definition for the Practice of Cinematography	3
Transcendental Style Reconsidered: Absence, Presence, and a “Place Which Is Not-a-Place”	2
Reconstructing the Uncertain Past: Cracked Docudramas That Question Their Own Authority	2
“Narrative Life” in Film and the Role of Screenwriting Practices	1
Eleanor Roosevelt on Screen: The First Lady's Appearances in Film and Television, 1932–1962	1
Imperiled Whiteness: How Hollywood and Media Make Race in “Postracial” America	1
Atomic Tests: Experimental Filmmaking in the Nuclear Era	1
Bedraggled Magnolias: Song of the South's 1986 Return to Atlanta	1
Contrasting Depictions in 1920s Italian and British Colonial Missionary Documentaries	1
A Study of Mordor and Coruscant as Paradigms of Neo-Baroque Digital Landscapes	1
From Self-Promotion to Demystification: Self-Reflexivity and Realism in Chinese Cinema	1
Editor's Introduction	0
Editor's Introduction	0
Awakening from Neoliberal Rationalities: The Ecological Conversion of Brit Marling's Protagonist inThe East	0
Middle of Nowhere (2012): Waiting Studies, Cinema, and Temporal Experience	0
Roasting Mulan: Chinese Cultural Confidence and Tucao Video Remixes on Bilibili	0
From the Opening Sequence ofCitizen Kaneto the Final Shot ofThe Birds: A Filmic Microanalysis of Three Painted Scenes	0
“Everything for Someone”: The Evolution of Sundance Now's Specialty Streaming Service	0
Time Bomb from the West: Video, the Advertising Industry, and Consumer Culture in Late-Socialist Czechoslovakia	0
The Disneyfication of Authorship: Above-the-Line Creative Labor in the Franchise Era	0
Ethics in Documentary Film Production: Asserting and Changing Norms	0
Editor's Introduction	0
An Ecological Context That Scars: Reflections on Three Nature Documentaries of 2020	0
“Othering Africa”: The Representation of Africa in Chinese Films	0

The Paradox of Steve Coogan: Performing Class in British Film Acting	0
Violence against Women and Girls: Female Filmmakers Critique the Menace	0
Editor's Introduction	0
Defining New Thai Cinema through the Filmographies of Nonzee Nimibutr, Pen-ek Ratanaruang, Apichatpong Weerasethakul, and Wisit Sasanatieng	0
Why Is Reverse Motion Funny? Happy End and the Comic Potential of the Cinematographic Mechanism	0
UFVA’s 2020 Virtual Conference: A Path Forward	0
Queer Child, Decolonial Child: Beasts of the Southern Wild Revisited through an Ecocritical Lens	0
More Human Than Human: The Exile in Blade Runner	0
Editor's Introduction	0
Cruising the Hyper-Real Highway: Edgar Wright’s Baby Driver	0
From Sundance to Netflix: South Korean Cinema in the US Film Market, 1996–2024	0
Editor's Introduction	0
Forum on Artificial Intelligence	0
“Beauty and the Beast”: Romance, Reform, and Mystery in the Films of Lon Chaney	0
Stranger Things, Nostalgia, and Aesthetics	0
Automobility in Daniel Oriahi's Taxi Driver: Oko Ashewo (2015) and Rogba Arimoro's Tokunbo (2019)	0
Disability as Fear Factor: Stereotyping of Disability in Malayalam Horror Cinema	0
Amphibious Magical Realism? The Shape of Water as Cinematic Trauma Narrative	0
Editor's Introduction	0
Generic Involution and Artistic Concession in Contemporary Hong Kong Cinema: Overheard Trilogy and Beyond	0
Documentary Film and the Flint Water Crisis: Incorporating the Sociological Imagination	0
Camp X-Ray and the Task of Critique: Torturability and the Politics of Ethical Recognition in Guantanamo	0
“This Is What's Real”: The Pathology of Black Addiction in the Hood Films of the 1990s	0
Pitch Decks, Project Development, and Creative Labor for Contemporary Hollywood TV Series	0
The Hippie, the Cowboy, and the City: Aesthetic and Political Layers in Tarantino's Once upon a Time . . . in Hollywood	0
Acting and Race in Night of the Living Dead (1968)	0
Talking Back through Peripheral Visions and Negotiating Identity: Kokborok and Bengali Films and Music Videos in Tripura	0
“I’m Taken … by Myself”: Romantic Crisis in the Self-Centered Indie Rom-Com	0
Neoliberalism and Disclosure's New Trans Activism: The Politics of Discrimination in Hollywood and How to Fight It	0
There's No Place Like Home(land) in American and Soviet Fantasy Cinema of 1939: The Wizard of Oz and Vasilisa the Beautiful	0
Star Wars After Lucas: A Critical Guide to the Future of the Galaxy	0
My Love Is in Cairo (1966): Pan-Arab, Commercial, and Asymmetrical Collaborations between Egypt and Yemen	0
Riding East—Western Myths, Nostalgia, and the Crossing of Generic Boundaries in Hidalgo (2004)	0
Challenging the Narrative: Documentary Film as Participatory Practice in Conflict Situations	0
The Ultimate Ride: A Comparative Narrative Analysis of Action Sequences in 1980s and Contemporary Hollywood Action Cinema	0
The Divine President: Populism, Political Theology, and Gabriel over the White House	0
Audiovisual Silence: A Lever for Narrative Change and Transition	0
Ideological Baggage: An Analysis of Sully (Clint Eastwood, 2016) and Flight (Robert Zemeckis, 2012)	0
Interview with Terésa Dowell-Vest	0
According to the Narrator, It Was a Dark and Stormy Night: Styles of Narration-as-Advocation in True-Crime Documentary Series	0
Building a Timeline for LGBTQ+ Global Cinemas (1910–2019): Movie Production Trends from a Collaborative Internet Cinema Database	0
“White Girls, They Get You Every Time”: Get Out's Horror of Miscegenation and Its Conception of the Black Bro'mance	0
The Dance Company Film	0
Encounters in Video Art in Latin America	0
“Why Don't You Go Down to Wall Street and Get Some Real Crooks?”: Capitalism and Masculinity in GoodFellas, Casino, and The Wolf of Wall Street	0
Editor's Introduction	0
Facing the End of the World:Take Shelteras Horror Ecocinema	0
Editor's Introduction	0
Before Fanfiction: Recovering the Literary History of American Media Fandom	0
Changing Perceptions of Buster Keaton's 1926 The General	0

Direct-to-Video (On Demand): New Industrial and Cultural Valuations of Nontheatrical Film Releases	0
To Have and to Hold: The Possessive Spectator, the Spinster Narrative, and Katharine Hepburn in David Lean’sSummertime(1955)	0
“A Truer Test of Woodcraft”: Bell & Howell Camera Advertising, Nature Magazine, and the Creation of the Modern “Camera Hunter”	0
Academic Freedom and Freedom of Expression in the University Film and Video Association: Creating Legitimacy for Asserting Norms	0
Kenneth Anger and the Filmed-Archive Reenactment	0
Automotive Associations in Post–New Wave Films by Czech Directors	0
The Omnipresent Gaze: Exploring Surveillance in Amir Naderi's Goodbye Friend (1971)	0
Americanizing the Scandinavian Super Underdog in Eighteen Film Remakes	0
Wooded and Watery Landscapes: Evolving Hollywood Depictions of “the Wilderness” and “the Frontier”	0