

“Make it in Post:” Digital Visual Effects and the Temporality of Creative Value in Post-Production
Published in The Palgrave Handbook of Screen Production, edited by Susan Kerrigan, Craig Batty, Marsha Berry, Kath Dooley, and Bettina Frankham and published by Palgrave Macmillan. Continue reading “Make it in Post:” Digital Visual Effects and the Temporality of Creative Value in Post-Production

Senses of Cinema, World Poll 2019
This post has been reproduced with attribution to Senses of Cinema. Continuing with the focus of my previous world polls, this list collates a representation of the year’s franchise movies. Continue reading Senses of Cinema, World Poll 2019

‘You Were the Chosen One!’ Darth Vader and the Sequential Dynamics of Villainy in the Star Wars Prequel Trilogy
Published in The Supervillain Reader, edited by Robert Moses Peaslee & Robert G. Weiner and published by University Press of Mississippi, 2020. Continue reading ‘You Were the Chosen One!’ Darth Vader and the Sequential Dynamics of Villainy in the Star Wars Prequel Trilogy

Practicing Superhuman Law: Creative License, Industrial Identity, and Spider-Man’s Homecoming
Published in The Superhero Symbol: Media, Culture, and Politics, edited by Liam Burke, Ian Gordon, and Angela Ndalianis, and published by Rutgers University Press, 2019. Continue reading Practicing Superhuman Law: Creative License, Industrial Identity, and Spider-Man’s Homecoming

The Franchise Era: Blockbuster Hollywood in the 2010s…and Beyond
Article published in issue 92 Senses of Cinema, as part of the special dossier called “This is what defined cinema in the 2010s” (October 2019). Continue reading The Franchise Era: Blockbuster Hollywood in the 2010s…and Beyond

Hannibal Lecter’s Monstrous Return: The Horror of Seriality in Bryan Fuller’s ‘Hannibal’
Chapter co-authored by Jessica Balanzategui, Naja Later, and Tara Lomax. In Becoming: Genre, Queerness, and Transformation in NBC’s Hannibal, edited by Kavita Mudan Finn and EJ Nielsen. Published by Syracuse University Press (July 2019). Available at Amazon An interdisciplinary collection of essays analyzing and dissecting the NBC series Hannibal (2013-2015), focusing on its manipulation of genre, its emphasis on queerness — in terms of sexuality … Continue reading Hannibal Lecter’s Monstrous Return: The Horror of Seriality in Bryan Fuller’s ‘Hannibal’

Talking Franchises: The World of Transmedia Development with Jeff Gomez
Interview with leading transmedia developer Jeff Gomez, CEO of Starlight Runner Entertainment. In this conversation we discuss the art and craft of transmedia development, including the successes and failures of franchises like Dark Universe, Star Wars, Marvel Cinematic Universe, and more. Continue reading Talking Franchises: The World of Transmedia Development with Jeff Gomez

Senses of Cinema, World Poll 2018
The Senses of Cinema World Poll has come around again and I’m happy to have contributed to this significant and extensive project for another year. As with my 2017 contribution, I focus only on franchise instalments because I consider franchise cinema to be an important mode of contemporary entertainment and worth acknowledging in any celebration of cinema and cinephilia. In 2017, I ordered my list … Continue reading Senses of Cinema, World Poll 2018

Cannibalizing Montage: Slicing, Dicing, and Splicing in Bryan Fuller’s ‘Hannibal’
Journal article published in Quarterly Review of Film and Video, as part of a special issue on the Hannibal television series, guest edited by Jessica Balanzategui and Naja Later. Continue reading Cannibalizing Montage: Slicing, Dicing, and Splicing in Bryan Fuller’s ‘Hannibal’

“Too Busy Building a World to Tell a Story”: Between World-Building and Storytelling in the Cleverman Storyworld
Journal article publication in a special dossier on Australian superheroes and the Cleverman television series, published in Senses of Cinema to coincided with the Superheroes Beyond Conference and the affiliated Cleverman exhibition at ACMI Continue reading “Too Busy Building a World to Tell a Story”: Between World-Building and Storytelling in the Cleverman Storyworld