| Anderson | Hollywood TV: The Studio System in the Fifties |
| Aumont et al. | Aesthetics of Film |
| Berg | Cinema of Solitude: A Critical Study of Mexican Film, 1967-1983 |
| Berg | Latino Images in Film: Stereotypes, Subversion, and Resistance |
| Buchsbaum | Cinema and the Sandinistas: Filmmaking in Revolutionary Nicaragua |
| Chakravarty | National Identity in Indian Popular Cinema, 1947-1987 |
| Devine | Vietnam at 24 Frames a Second: A Critical and Thematic Analysis of Over 400 Films about the Vietnam War |
| Galichenko | Glasnost—Soviet Cinema Responds |
| Gordon | Hollywood Exile, or How I Learned to Love the Blacklist |
| Grant | The Dread of Difference: Gender and the Horror Film |
| Kernan | Coming Attractions: Reading American Movie Trailers |
| Leibman | Living Room Lectures: The Fifties Family in Film and Television |
| Mullen | The Rise of Cable Programming in the United States: Revolution or Evolution? |
| Perren | Indie, Inc.: Miramax and the Transformation of Hollywood in the 1990s |
| Pick | The New Latin American Cinema: A Continental Project |
| Rowe | The Unruly Woman: Gender and the Genres of Laughter |
| Smyth | Edna Ferber's Hollywood: American Fictions of Gender, Race, and History |
| Telotte | The Cult Film Experience: Beyond All Reason |
| Timberg | Television Talk: A History of the TV Talk Show |
| Vertrees | Selznick's Vision: Gone with the Wind and Hollywood Filmmaking |
| Wasser | Veni, Vidi, Video: The Hollywood Empire and the VCR |
| Wyatt | High Concept: Movies and Marketing in Hollywood |
