OOIR: Observatory of International Research

Papers

(The TQCC of New Review of Film and Television Studies 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 2022-08-01 to 2026-08-01.)

Article	Citations
The landscapes of western movies: a history of filming on location, 1900–1970	10
Their own best creations: women writers in postwar television Their own best creations: women writers in postwar television , by Annie Berke, Oakland, University of Cali	5
“It’s not really a cat”: art, media, and queer wildness inCat People(1942, 1982)	5
TV plus what? data-capital, brand extension, and lock-in effects in the Apple ecosystem	4
‘Fully authenticated by respected scientists’: fact, fiction, and the roots of paranormal reality shows in American television history	3
“I want to be good:” morality, faith, and female spectatorial pleasure during World War I	3
Reading Joey Soloway: popularizing feminist and queer theory in independent film and television	3
Cinematic figurations of mountains	3
Highroads and skyroads: mountain roadbuilding in U.S. government films of the 1920s and ‘30s	3
The category is: streaming queer television	2
Introduction: women’s authorship and adaptation in contemporary television	2
Special dossier introduction: horror fans and audiences	2
Entering the Walloon Gothic: nationalist border crossing and othering in contemporary Flemish cinema	2
Screening fears: on protective media	2
“It’sTop Chef, not a personality contest”: grammars of stereotype, neoliberal logics of personhood, and the performance of the racialized self inTop Chef: New York	2
Reese Witherspoon’s popular feminism: adaptation and authorship in Big Little Lies	2
Walkman time machine	2
The Australian film revival: 1970s, 1980s, and beyond	2
Lost souls, victims and deviants: radicalization and gender in Agents of S.H.I.E.L.D .	1
Flowers, concrete, water: care and precarity in Tsai Ming-liang’s I Don’t Want to Sleep Alone (2006)	1
I’ll Be Gone in the Dark: feminism and the adaptation of true crime in the #MeToo era	1
V.F. Perkins and the redescription of films	1
Live-action mistake: Disney’s Mulan (2020), failure analysis, and media industry studies	1
Consumer Survival Kit : U.S. public television, economic imaginaries, and counter-visions of a responsive state	1
‘This I rebel against’: television advertising, Rod Serling’sThe Twilight Zone, and a changing industry	1

Scalar vicissitudes and minute creatures: reexamining insects as cinematic subjects in Microcosmos and Life in the Undergrowth	1
Landscape and the moving image	1
George Miller’s “old-fashioned Hollywood studio”: corporate authorship at Kennedy Miller, 1981–1991	1
Fiction as a challenge to text-oriented film studies	1
Cinematic cultures of descent: the other sides of the mountaineering story	1
Transmedia terrors in post-TV horror: digital distribution, abject spectrums and participatory cultures	1
Girls gone wild: animality, female teenagers, and disidentification in contemporary European cinema	1
RevisitingBrokeback Mountain– how mountains matter, or: melodrama, melancholy, (im-)mobility	1
That’s not funny: how the right makes comedy work for them	1
“Throwing shows against the wall and hoping for the best”: NBC, quality, and the Emmy race for Outstanding Drama Series in the 2010s	1
Transformational ethics of film: thinking the cinemakeover in the film-philosophy debate	1
Audiovisual tourism promotion: a critical overview	1
Diegetic existence: transmedia instauration in artists’ cinema	0
Encounters through books of light: uncanny television and media archaeology in The Living and the Dead	0
Serializing Islamophobia: anti-Muslim racial paranoia and HBO’s The Night Of	0
“I wish we could stay here forever … and ever”: trauma and sentient space in the horror hotel	0
Guilty of being a dwarf: Peter Dinklage and American fantasy television	0
Ghost riders: Kelly Reichardt, certain women, certain men	0
Melancholy, respectability, and credibility in Sean Baker’s Tangerine	0
“Have you got any soul?”: reinterpreting High Fidelity ’s relationship to Black cultural production	0
Rust belt grindhouse: Deadbeat at Dawn and the gentrification of East Dayton’s warehouse district	0
A medium seen otherwise: photography in documentary film	0
Washed in the flotsam and jetsam of everyday life: the hotel in film	0
Whitewashing the movies: Asian erasure and white subjectivity in U.S. film culture	0
Subversive pedagogies: the remembered impacts of children’s horror television on millennial Australian audiences	0
Contemporary horror on physical media: prestige releasing and cult consumption in the case of Second Sight’s distribution practices	0
Black box universe: the mind-game phenomenon, the hacker film, and the new millennium	0
Female Convict Scorpion : production context, gender politics, and cinematic excesses in a Japanese women-in-prison film series	0
‘This is my house now!’: Fighting with My Family , the female underdog and constructing a public history of WWE	0
‘Unique joy’: Netflix, pleasure and the shaping of queer taste	0
Child spectators: towards a phenomenological perspective on the imaginary transformations of reality	0
Starmaker: David O. Selznick and the production of stars in the Hollywood studio system	0
Beyond the algorithm: curating a streaming library for documentaries	0
‘Punching above our weight’: industry visibility and community engagement in rural and regional film festivals	0
Screen media and the construction of nostalgia in post-socialist China	0
Shit happens on the big screen: faecal motifs in contemporary film	0
‘Scream for your lives!’: the philosophy of horror in William Castle’s The Tingler (1959)	0
Ambiguous images of Soviet-Kyrgyz mountainscapes in The Sky of Our Childhood (1966)	0
Sonic modernities: capitalism, noise, and the city essay film	0
Black and white in colour: looking across race in Spike Lee’s Clockers and Summer of Sam	0
Reconsidering old Hollywood fantasies of Black citizenship: plantation, whiteness, and civil rights in Pinky	0
A queer way of feeling: girl fans and personal archives of early Hollywood A queer way of feeling: girl fans and personal archives of early Hollywood , by Diana W. Ansel	0
American Horror Story and cult television: narrative, histories and discourses	0
Here to stay: death, mourning and hauntology in Denis Côté’s Répertoire des villes disparues (2019)	0
Lonely hotels and motels	0
Consent culture and teen films: adolescent sexuality in US movies	0
Queer times in Moonlight	0
Modern European cinema and love	0
A note of introduction	0
Film bleu: the development of cinematic aesthetics and disavowal of cultural traditions in Hong Kong crime cinema	0

Brooklyn: gendered Irish migration to the United States	0
ImaginingTaking Tiger Mountain(by strategy): two landscapes of the Anthropocene, 1970 and 2014	0
Bluebeard meets Ivy: the botany of love in Paul Thomas Anderson’s Phantom Thread	0
Adaptation, authorship and the critical conversations of Little Fires Everywhere	0
Affective production value on queer community television: a case study of the Gay Cable Network and Gay USA	0
Introduction: queer/trans media now	0
Uncomfortable television	0
Classical Hollywood cinematographers and the cultural capital of television	0
The queer(ed) hotel in film	0
The aesthetics of impasse and the affective rhythms of survival: Andrea Arnold’sFish Tankas cinema of precarity	0
A dream deferred: race, space and urban representation in the films of Steve James	0
“World-famous”: the Nicholas Brothers’ Black stardom on television, 1951–1977	0
Death and collective autobiography in Silverlake Life: The View from Here	0
Introduction: Transnational Horror Media Now	0
Screening contemporary Irish fiction and drama Screening contemporary Irish fiction and drama , edited by Marc C. Conner, Julie Grossman, and R. Barton Palmer, Cham, Pal	0
The fantasies of Black Final Girls	0
Hand painted movie stills: a study of the aesthetics of the cinematographic space in painted scenography	0
When Billie Holiday went to Hollywood: the biopic as reputation management in Lady Sings the Blues	0
Cityscapes, trance states, and women walking: embodied practices of walking in experimental film and video	0
Digital space and embodiment in contemporary cinema: screening composite spaces Digital space and embodiment in contemporary cinema: screening composite spaces , by Jenn	0
Futures past and present: history, architecture and dystopia in Brazil (1985) and the Hunger Games series (2012-15)	0
Murky waters: Incident at Loch Ness, Grizzly Man, and Herzogian notions of truth	0
Reconsidering remarriage: Stanley Cavell and the vicissitudes of genre	0
‘The All-American Smile:’ the deconstruction of Robert Redford’s star persona in David Lowery’s The Old Man & the Gun	0
The limitation of the bottle episode: Hegel in Community	0
Metaphysics and the moving image: paradise exposed	0
Patriarchal confession: Foucault and the Singaporean hotel in Eric Khoo’s In the Room	0
Nostalgia, satire, and subcultural capital at the drive-in: examining horror host Joe Bob Briggs as a cultural intermediary	0
Hollywood’s embassies: how movie theaters projected American power around the world	0
More to the picture than meets the eye: ecocinema, landscape, and James Benning’s Deseret	0
Documentary’s expanded fields: new media and the twenty-first-century documentary	0
Transmasculinity on television Transmasculinity on television , by Patrice Oppliger, New York, Routledge, 2022, 120 pp., $64.95 (hardback), ISBN: 9781032068985	0
Bedding down precarity: John Smith’s Hotel Diaries	0
Time, disaster, new media:Your Nameas a mind-game film	0
The rhythmic space of affects: how atmospheres shape music videos	0
Of fleas and Parasite : unpacking class and space in Bong Joon-ho’s Barking Dogs Never Bite	0
Architectures of violence: the fight scenes of Hollywood’s luxury hotels	0
Self-reflexive stardom and the early television sitcom: parafictional persona in The George Burns and Gracie Allen Show	0
A ‘solution to an ongoing TV problem’: the rebooted limited series as quality TV format	0
Woman up: invoking feminism in quality television Woman up: invoking feminism in quality television , by Julia Havas, Detroit, Wayne State University Press, 2022, 282 pp	0
Labors of love	0
Anti-Heimat cinema: the Jewish invention of the German landscape	0
Amateur, avant-garde, or underground? François Reichenbach’s early homophile films	0
Transmedial perspectives on humour and translation: from page to screen to stage	0
The political dimension of ekphrasis	0
History and story in the American political thriller film: Hollywood in the labyrinth	0
E pluribus Unum : toward a poetics of the TV anthology	0
‘Humanity rising from the depths of brine’: an oceanic politics in Disney’s Moana	0
List of Reviewers 2020–2023	0
The value gap: female-driven films from pitch to premiere	0
Double vision: global irony in Brian De Palma’s Sisters (1972)	0
The vengeful dad: violence, paternalism, and antifeminism in New Hollywood cinema	0
‘ The Invisible Man is in your home’: pandemic-era Watch Parties as ephemeral media events	0
Roundtable on women’s authorship and adaptation in contemporary television	0
How documentaries went mainstream: a history, 1960–2022	0
Perplexing plots: popular storytelling and the poetics of murder	0
Reshaping production practices: European film festivals, new Indonesian cinema, and the creative producer	0
Mediating the elemental: an immaterialist ethics for ecomaterialist media theory	0
National identity and global imaginary in China’s ‘citizen evacuation’ films: from Wolf Warrior 2 (2017) to Home Coming	0
The performance of labor and downward mobility in Steven Soderbergh’s recession trilogy (2009–2012): The Girlfriend Experience , Haywire ,	0
From the figure of the obscene rich to the fantasy of its destruction: on Succession , schadenfreude and the godlike power of the super-rich on screen	0
Earners and spenders, husbands and wives: the affective restraints on women’s labor in high Cold War American sitcoms	0
Othered form and insectile subjectile: Under the Skin	0
On Xavier Dolan’s musical parentheses	0
‘Breathe in for your vitality’: the breath as the nexus of meaning in Ari Aster’s Midsommar	0
“My job is to live my life, not save yours”: queer emotional labor, audiences, and Netflix’s Queer Eye	0
Televisual authorship and the affective feminism of HBO’s Sharp Objects adaptation	0
“The mother is a child, too”: neoliberal segmentarity, reproductive futurism, and relationality in Enlightened	0
The magic hours: the films and hidden life of Terrence Malick	0
Desperately seeking satisfaction: hotel sex and the (older) single girl in Good Luck to You , Leo Grande (2022)	0
Dementia and contemporary horror movies: gendered ageing and the haunted home	0
“Some things are proper, and some things are not”: forgotten men and disciplined women inMy Man Godfrey	0
Dangerous exchange students: Battle Royale and transcultural fans’ intertextual gatekeeping	0
On longing for loss: a theory of cinematic memory and an aesthetics of nostalgia	0
The new female antihero: the disruptive women of twenty-first-century US television	0