Journal of Film and Video

Papers
(The TQCC 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 2020-05-01 to 2024-05-01.)
ArticleCitations
Stranger Things, Nostalgia, and Aesthetics2
The Disneyfication of Authorship: Above-the-Line Creative Labor in the Franchise Era2
“Narrative Life” in Film and the Role of Screenwriting Practices2
Awakening from Neoliberal Rationalities: The Ecological Conversion of Brit Marling's Protagonist in The East1
Camp X-Ray and the Task of Critique: Torturability and the Politics of Ethical Recognition in Guantanamo1
Americanizing the Scandinavian Super Underdog in Eighteen Film Remakes1
“I’m Taken … by Myself”: Romantic Crisis in the Self-Centered Indie Rom-Com1
Atomic Tests: Experimental Filmmaking in the Nuclear Era1
Aging, Auteurism, and the Bergfilm: Olivier Assayas’s Sils Maria/Clouds of Sils Maria (2014) and Paolo Sorrentino’s La giovinezza/Youth (2015)1
“This Is What's Real”: The Pathology of Black Addiction in the Hood Films of the 1990s1
Navigating Alma’s Gang Culture: Exploring Testimonio, Identity, and Violence through an Interactive Documentary1
An Ecological Context That Scars: Reflections on Three Nature Documentaries of 20200
Challenging Ontological Order: Walls and Historical Space in Narrative Films0
Editor's Introduction0
A Study of Mordor and Coruscant as Paradigms of Neo-Baroque Digital Landscapes0
The Paradox of Steve Coogan: Performing Class in British Film Acting0
Transcendental Style Reconsidered: Absence, Presence, and a “Place Which Is Not-a-Place”0
Editor's Introduction0
Back Matter0
There's No Place Like Home(land) in American and Soviet Fantasy Cinema of 1939: The Wizard of Oz and Vasilisa the Beautiful0
Back Matter0
Encounters in Video Art in Latin America0
More Human Than Human: The Exile in Blade Runner0
Time Bomb from the West: Video, the Advertising Industry, and Consumer Culture in Late-Socialist Czechoslovakia0
UFVA’s 2020 Virtual Conference: A Path Forward0
Front Matter0
“A Truer Test of Woodcraft”: Bell & Howell Camera Advertising, Nature Magazine, and the Creation of the Modern “Camera Hunter”0
Generic Involution and Artistic Concession in Contemporary Hong Kong Cinema: Overheard Trilogy and Beyond0
Forum on Artificial Intelligence0
Building a Timeline for LGBTQ+ Global Cinemas (1910–2019): Movie Production Trends from a Collaborative Internet Cinema Database0
Acting and Race in Night of the Living Dead (1968)0
Audiovisual Silence: A Lever for Narrative Change and Transition0
The Fix Is In: Dubbing as Transcultural and Transmedia Adaptation0
What Is Cinematography in the Age of Virtual Film Production? Posing a New Definition for the Practice of Cinematography0
Defining New Thai Cinema through the Filmographies of Nonzee Nimibutr, Pen-ek Ratanaruang, Apichatpong Weerasethakul, and Wisit Sasanatieng0
The Imaginary in the Biopic: Deconstructing Convention in Ron Howard’s A Beautiful Mind (2001)0
Automotive Associations in Post–New Wave Films by Czech Directors0
Why Is Reverse Motion Funny? Happy End and the Comic Potential of the Cinematographic Mechanism0
Front Matter0
Direct-to-Video (On Demand): New Industrial and Cultural Valuations of Nontheatrical Film Releases0
Editor's Introduction0
Kenneth Anger and the Filmed-Archive Reenactment0
The Dance Company Film0
Cruising the Hyper-Real Highway: Edgar Wright’s Baby Driver0
Oedipus the King as a Paradigm for Family Trauma Cinema0
Neoliberalism and Disclosure's New Trans Activism: The Politics of Discrimination in Hollywood and How to Fight It0
“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 Street0
Violence against Women and Girls: Female Filmmakers Critique the Menace0
From the Opening Sequence of Citizen Kane to the Final Shot of The Birds: A Filmic Microanalysis of Three Painted Scenes0
Documentary Film and the Flint Water Crisis: Incorporating the Sociological Imagination0
Contrasting Depictions in 1920s Italian and British Colonial Missionary Documentaries0
“White Girls, They Get You Every Time”: Get Out's Horror of Miscegenation and Its Conception of the Black Bro'mance0
Reconstructing the Uncertain Past: Cracked Docudramas That Question Their Own Authority0
Queer Child, Decolonial Child: Beasts of the Southern Wild Revisited through an Ecocritical Lens0
Model Cities: The Landlord, New York Mayor John Lindsay, and the Challenges of Urban Renewal0
To Have and to Hold: The Possessive Spectator, the Spinster Narrative, and Katharine Hepburn in David Lean’sSummertime(1955)0
According to the Narrator, It Was a Dark and Stormy Night: Styles of Narration-as-Advocation in True-Crime Documentary Series0
Ethics in Documentary Film Production: Asserting and Changing Norms0
Riding East—Western Myths, Nostalgia, and the Crossing of Generic Boundaries in Hidalgo (2004)0
Facing the End of the World:Take Shelteras Horror Ecocinema0
Monstrous National Allegory: The Making of Monstrous Otherness in Na Hong-jin’s The Wailing0
Amphibious Magical Realism? The Shape of Water as Cinematic Trauma Narrative0
Blurred Visions: Atomic Testing, Live Television, and Technological Failure0
The Ultimate Ride: A Comparative Narrative Analysis of Action Sequences in 1980s and Contemporary Hollywood Action Cinema0
Editor's Introduction0
“Beauty and the Beast”: Romance, Reform, and Mystery in the Films of Lon Chaney0
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