Click on titles in bold to download PDFs
‘Getty Images: copyright hawk or corporate appropriator?’. CREATe (Centre for Regulation of the Creative Economy) working paper, February 2024.
‘The Present and Future of Digital Theatre’ in Pascale Aebischer and Rachael Nicholas Adaptation and resilience in the performing arts. University of Manchester Press, 2024, pp 23-41.
‘Beyond the “substitution effect”: the impact of digital experience quality on future cultural participation’ (co-written with Adrian Leguina and Kadja Manninen). Cultural Trends, online publication December 2023 (print publication forthcoming).
‘“Real-time” virtual reality and the ideology of immersion’. Screen 61.4 (winter), 2020.
‘“All I have to offer is myself”: the film-maker as narrator’. In Julia Vassilieva and Deane Williams (eds.), Beyond the Essay Film: Subjectivity, Textuality and Technology. University of Amsterdam Press, 2020.
‘The Black Screen’. In Martine Beugnet, Allan Cameron, and Arild Fetveit (eds.), Indefinite Visions. Edinburgh University Press, 2017, pp. 38-52.
‘Trespassing Hollywood: property, space, and the “appropriation film”’. October 153 (summer), 2015, pp. 132-148.
‘Modular Spacetime in the “Intelligent” Blockbuster: Inception and Source Code’ (co-written with Allan Cameron). In Warren Buckland (ed.), Hollywood Puzzle Films. Routledge. 2014, pp. 109-124.
‘Time-lapse and the projected body’ (co-written with Allan Cameron). The Moving Image Review and Art Journal 3.1, 2014, pp. 36-48.
‘Mapping Rohmer: cinematic cartography in post-war Paris’. In Les Roberts (ed.), Mapping Cultures: Place, Practice, Performance. Palgrave-Macmillan, 2012, pp. 68-84.
‘Dead Time: Cinema, Heidegger, and Boredom’. In Julia Vassilieva and Con Verevis (eds.), After Taste: Cultural Value and the Moving Image. Routledge, 2011, pp. 133-142.
‘The “Look” and How To Keep It: Cinematography, Post-Production, and Digital Colour’. Screen 51.4 (winter), 2010, pp. 404-410.
‘Dead Time: Cinema, Heidegger, and Boredom’. Continuum: Journal of Media and Cultural Studies 24.5 (October), 2010, pp. 777-785.
‘The Invisible Ideology of White Light’. The New Review of Film and Television Studies 8.2, 2010, pp. 125-143.
‘Exploding Binaries: Point-of-View and Combat in The Thin Red Line’. Quarterly Review of Film and Video 25.2, 2008, pp. 116-123.
‘A Parallax View of Psycho'. International Journal of Zizek Studies 2.1, 2008.
‘Wrong Geometries in The Third Man’. Rouge 11, December 2007.