| Seventeen Days in July at Hollywood and Highland | 2005/04/01 | English | 4 |
| Miami Viceand the Legacy ofFilm Noir | 1985/10/01 | English | 4 |
| Every Which Way But Lucid | 1982/10/01 | English | 4 |
| Flow, Genre, and the Television Text | 1988/01/01 | English | 4 |
| The Wire: Big Brother Is Not Watching You in Body-more, Murdaland | 2010/08/31 | English | 4 |
| Wearing the Red Shoes: Dorothy and the Power of the Female Imagination in The Wizard of Oz | 1996/01/01 | English | 4 |
| Bush's America and the Return of Cold War Science Fiction: Alien Invasion inInvasion, Threshold, andSurface | 2010/08/31 | English | 4 |
| Reading Gender Politics on The L Word: The Moira/Max Transitions | 2009/11/30 | English | 4 |
| ChallengingWaiting For Supermanthrough Detournement | 2013/04/01 | English | 4 |
| The Sacred Engine and the Rice Paddy: Globalization, Genre, and Local Space in the Films of Bong Joon-ho | 2019/01/02 | English | 4 |
| Fantasies of Modernity: Korean TV Dramas in Latin America | 2019/01/02 | English | 4 |
| “Cooking Doesn't Get Much Tougher than This”: MasterChef and Competitive Cooking | 2016/07/02 | English | 4 |
| The New Language of the Digital Film | 2014/01/02 | English | 3 |
| Films of the Nuclear Age | 1988/07/01 | English | 3 |
| How I Met Your Masculinity: Contrasting Male Personas Portrayed onHow I Met Your Mother | 2018/07/03 | English | 3 |
| Frontiers and Border-Crossing: Incest, History, and Cinematic Structure in John Sayles's Lone Star | 2016/01/02 | English | 3 |
| Recovery of the Soldier and the Necropolitics of Peace in Descendants of the Sun | 2019/01/02 | English | 3 |
| Transforming the Hero of I Am Legend | 2016/01/02 | English | 3 |
| Questions of Identity: Cultural Encounters in Gurinder Chadha'sBend It Like Beckham | 2011/09/12 | English | 3 |
| RethinkingBlacula: Ideological Critique at the Intersection of Genres | 2012/05/16 | English | 3 |
| The Question Of Popular Genres | 1985/07/01 | English | 3 |
| All the Words we Cannot Say a Critical Commentary onthe Deer Hunter | 1980/01/01 | English | 3 |
| Hollywood Filmmaking and Reputation Building: Hitchcock'sThe Birds | 1987/01/01 | English | 3 |
| Seinfeld's Humor Noir: A Look at Our Dark Side | 2000/01/01 | English | 3 |
| Perspectives: “The Shameless World” Revisited | 1998/01/01 | English | 3 |
| “Cleaning up a Sewer”: The Containment of S/M Pornography | 1998/01/01 | English | 3 |
| FROM CINESPACE TO CYBER SPACE: Zionists and Agents, Realista and Gamers inThe MatrixandeXistenz | 2001/01/01 | English | 3 |
| Historical Trends in the Criticism of the Newsreel & Television News 1930–1955 | 1984/10/01 | English | 3 |
| Film in Post-Colonial Zimbabwe | 1992/01/01 | English | 3 |
| The Door Ajar | 1982/10/01 | English | 3 |