Talks

Josephine Baker as "Rememory" of Global Black Cinema, The National Gallery of Art, Rajiv Vaidya Memorial Lecture 2021.

Introduction, Josephine Baker: Queen of Paris, The Criterion Channel, 2021.

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Journal Guest Editor

 

“In Focus: Curators Speak: Film Presentation as Social Justice Work in the Wake of COVID-19,” ed. and introduction, Journal of Cinema and Media Studies, 62.1 Fall 2022. Contributors: Melissa Lyde, Maya Cade, Brett Kashmere, Heitor Augusto, Danielle Shreir, Livia Bloom, and Jon Dieringer. 

 

“Unexpected Archives: More Locations of Caribbean Film,” ed. and introduction, sx salon 17 (October 2014).

Contributors: Cara Caddoo, Sean Metzer, Rachel Mosely-Wood, and Chi-ming Yang.

 

Close-Up on Afrosurrealism, ed. and introduction, Black Camera: An International Journal 5.1 (Fall 2013): 94-236. Contributors: D. Scot Miller, Anthony Reed, Rebecca Peabody, Akiva Gottlieb, Tony Cokes, Ina Diana Archer, Nzingha Kendall, Terence Nance, Christopher Harris, Nuotama Bodomo, Kevin Jerome Everson, and Cauleen Smith.

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Essays 

“Feeling the Pressures of Representation or Re-Viewing The Harder They Come When I Look, “Kingston Biennial, Exhibition Catalog, Forthcoming December 2022. 

 

“Black American Cinema’s French Film Star, Josephine Baker,” Regeneration: Black Cinema 1898–1971. Exhibition Catalog, August 2022. 

 

“Interview with Maya Cade,” in Mubi Notebook Magazine (Summer 2022): 

 

“Within the Circle: Madeline Anderson’s Cinematic Assemblages,” in Seen 2 (Spring 2021): 186-191.

Where is the love?: Seeking intimacy in Josephine Baker's films, Salon

Terri Simone Francis's Playlist for Her Book Josephine Baker's Cinematic Prism, Largehearted Boy

Existence as Resistance: How Josephine Baker Challenged Misogynoir, LitHub

15.4 The Distraction of Symbolism,  ASAP Journal, September 2020.

Thinking Through Camille Billops, Another Gaze, October 2019.

Mati Diop’s Atlantiques (2009), #DirectedbyWomen, June 2019.

Chére Ja’Tovia, Chére Joséphine, Revue Initiales: Joséphine Baker, 13 (2019), 34-40. 

WhoWhatWhenWhere is Jamaican Cinema?  A Place for Cinema, March 2019.

Formal Distance: Fellowship and Concentration in the Films of Kevin Jerome Everson, Mubi, September 2018.

Chanting Afrosurrealism: Primer to Avant-Noir 2 at IU Cinema, A Place for Cinema, January 2018.

Working Over Time: Labor in Kevin Jerome Everson’s Films, I Really Hear That: Quality Control and Other Films, DVD, Video Data Bank, 2017.

Josephine Baker’s French African American Films, in media res, August 2014. 

Get to Know the Feminist Filmmaker Who Vandalizes Commercials, August 2013.

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Academic Articles 

“Welcoming Paulin Vieyra’s Papers to Indiana University’s Black Film Center & Archive,” Black Camera 13.2 (2022): 489-499.

Introduction to Unexpected Archives: More Locations of Caribbean Cinema, sx salon October 2014.

Whose ‘Black Film’ is This? The Pragmatics and Pathos of Black Film Scholarship, Cinema Journal 53.4 (2014): 146-150.

Looking Sharp: Performance, Genre and Questioning History in Django Unchained. Transition 112 (2013): 32-45.

Meditation. In Close-Up section on Afrosurrealism. Guest Editor and Contributor. Thematic discussion, Black Camera 5.1 (2013): 94. 

Introduction: The No-Theory Chant of Afrosurrealism. In “Close-Up section on Afrosurrealism.” As Guest Editor and Contributor. Thematic discussion, Black Camera 5.1 (2013): 95-112. 

Can’t Stay, Can’t Go: What is History to a Cinematic Imagination? Black Camera 3.2  (2012): 128-139.

Sounding the Nation: Martin Rennalls and the Jamaica Film Unit, 1951-1961. Film History 23.2 (2011): 110-128.

Flickers of the Spirit: Black Independent Film, Reflexive Reception and a Blues Cinema Sublime. Black Camera 1.2 (2010): 7-24.

I and I: Elizabeth Alexander’s First-Person Voice, the Witness, and the Lure of Amnesia. Gender Forum 22 (2008).

What Does Beyoncé See in Josephine Baker?: A Brief Film History of Sampling the La Diva, La  Bakaire. The Scholar & Feminist Online. 6.1-6.2 (2007/2008).

Embodied Fictions, Melancholy Migrations: Josephine Baker’s Cinematic Celebrity, Modern Fiction Studies 51.4 (2005): 824-845.