“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