Recent Book chapters
“The Robert Flaherty Film Seminar in the 1950s: Humanist and Poetic Activism,” in Film Festivals and Activism, edited by Leshu Torchin and Dina Iordanova( St. Andrews, Scotland: University of St. Andrews Press, 2012), 31-46.
“The Home Movie Archive Live,” in Saving Private Reels, edited by Barry Monahan, Laura Rascoroli, Gwen Young (Intellect Press, forthcoming)
“Towards a Theory of Open Space Documentary in Old and New Media, “ with Helen De Michiel, The Documentary Reader, edited by Brian Winston (London: British Film Institute, forthcoming)
“Ardent Spaces, Formidable Environments,” catalog essay for Fierce: Women’s Hot-Blooded Film/Video, McMaster University Museum of Art, Hamilton, Ontario, Canada, January 2010, 20-31.
“Speculations on Home Movies: Thirty Axioms for Navigating Historiography and Psychic Vectors,” in Private Eyes and the Public Gaze: The Manipulation and Valorisation of Amateur Images, edited by Sonja Kmec and Viviane Thill, (Luxembourg: Kliomedia BmbH, Trier, 2009), 25-32.
“Public Domains: Engaging Iraq through Experimental Digitalities and Documentaries,” in Rethinking Documentary: New Perspectives and Practices, edited by Thomas Austin (London, England: Open University Press, 2008)) 341-363.
“Introduction: The Home Movie Movement: Excavations, Artifacts, Minings,” in Mining the Home Movie: Excavations in Histories and Memories, edited by Karen I. Ishizuka and Patricia R. Zimmermann (Berkeley: University of California Press, 2007) 1-28
“The Home Movie and the National Film Registry: The Story of Topaz”, with Karen I. Ishizuka, in Mining the Home Movie: Excavations in Histories and Memories, edited by Karen I. Ishizuka and Patricia R. Zimmermann (Berkeley: University of California Press, 2007), 126-141
“Morphing History into Histories: From Amateur Film to the Archive of the Future,” in Mining the Home Movie: Excavations in Histories and Memories, edited by Karen I. Ishizuka and Patricia R. Zimmermann (Berkeley: University of California Press, 2007), 126-141
“Cartographies of the Impossible and the Possible,” essay for Small Arms: Children at War, the Photographic Work of Michael Kienitz, ( Madison, Wisconsin: Chazen Art Museum, University of Wisconsin, 2007), 7-15
“Documentary in the 1990s,” in Contemporary American Cinema, edited by Linda RuthWilliams and Mark Hammond, (New York: McGraw Hill, 2006), 355-385.
“Pirates of the New World Order, in Technology and Culture edited by Andrew Utterson (London: Routledge, 2006), 186-199.
“Digital Imaginaries,”in Contemporary American Independent Film, edited by ChristineHolmlund and Justin Wyatt, (New York:Routledge Press, 2006), 245-264
“Peter Forgacs” in Understanding Film Genres, edited by Tom Pendergast, Sara Pendergast, Steven Jay Schneider (New York: McGraw Hill, 2006), 230-236