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Auteurs in the Age of Social Media

Theme week organized by
Cáit MurphyTrinity College Dublin

Goncharov’s Auteurish Aesthetics

By Olivia Stowell

TikTok Wes (AI)nderson

By Cáit Murphy

Jim Jarmusch as (Instagram) Collage Artist

By Jennifer O'Meara

The Masculine Surreal: Damon Packard’s AI-Aided Auteurship

By Jaka Lombar

Collaborative Authorship and Lulu Wang’s Expats

By Stefania Marghitu

Religious Cinematics: Visualising Faith in the 21st Century

Theme week organized by
SanchariDuttaChowdhuryGeorgia State University - Department of Communication

The Religious Experience as Politics of Insurgency?

By AbinashDashChoudhury

Abject Martyrdom_ Queer Becomings in João Pedro Rodrigues

By Daren Fowler

Toward a Vulvar Signifier: Rob Zombie’s 21st Century Mytho-Poetic Revision

By Christopher Minz

A24’s “Heretic” and The History of Mormonism in Cinema

By Mickey Randle

Deus Ex Machina: Transcendental Style, Post-Secular Cinema, and After Yang

By Caleb Ward

Rebel With a Cause: Women and the Art of Defiance in Iran

Theme week organized by
Navid DarvishzadehGeorgia State University

Cinema and Women’s Representation: Visibility and the Making of Modern Iranian Woman

By Shiva Rahbaran

Generations of the Women’s Movement in Post-revolutionary Iran

By Alejandra González Guerrero

What Is So Wrong with Being Personal? Understanding Iranian Women's Use of Social Media for Their Activism and How It Connects Iranians Transnationally

By Ahou Koutchesfahani

Toward a New Particular Universal

By Catherine Z. Sameh

Rethinking Cozy Games

Theme week organized by
Mickey RandleGeorgia State University

What Is A Cozy Game?

By Mickey Randle

Motivation Through Coziness

By Justin Buergi

Fashion Games, Feminine Consumption, and Cozy Gambling

By Taylore Woodhouse

Cozy Horror: Crow Country’s Cathartic Return to Playing Fear

By Caleb Ward

VR Game Design and the Limits of Creating a ‘Cozy’ Game Space

By Jacob Mertens

21st Century Cinema at 24

Theme week organized by
Jenny GunnGeorgia State University

21st Century Cinema at 24

By Jenny Gunn

A woman driving around Bucharest in 1981 and 2023

By Andrei Gorzo

“To Cut or Not to Cut. . .”: Michel Hazanavicius’ Coupez! (2022)

By Marc Furstenau

Imprisoned Interactivity

By Courtney R. Baker

Without Cheese, There Wouldn’t Be an Inland Empire

By Timothy Holland
This theme week is a second part of the dossier on Dune. Please find the first part here ://mediacommons.org/imr/content/dune-2021

Dune: Part Two

Theme week organized by
Alexander GreenhoughStanford University

Resources are Limited…Fear is All We Have” A Post COVID Reading of Dune: Part Two

By Alexandra Nakelski

Examining Homosexual Representation in Dune: Part Two

By Mychal Reiff-Shanks

The Water of Life: Psychoanalyzing Dune: Part Two

By Alexander Greenhough

Powerful and Terrible Inheritances on Dune and on Earth

By Cassandra L.C. Troy

The Dark Side of Dating Reality TV

Theme week organized by
Dr. Narissra Punyanunt-CarterTexas Tech Universiy

Perfect Match

By Anahita Azarfaza

Love on the Line: Relationship Turning Points on 90 Day Fiancé

By Aubree Herman

The Concept of Isolation in Reality Dating Shows like The Bachelor

By Carson Ward

Unveiling the Dark Side of Reality Dating Shows: A Case Study of Deception in “The Perfect Match Extra Dating Show by TV3”

By Rhoda Asabea Osei

Quasi-Hyperpersonal Communication and Deception in Love is Blind

By Joshua P. Sills

Deception and Belittlement: Unveiling the Dark Sides of Communication in ’90 Day Fiancé’

By morgan.ortegon.ttu

David Bordwell

Theme week organized by
Sara Ghazi AsadollahiGeorgia State University

The lasting legacy of David Bordwell

By Yuri Tsivian

John Woo Is God!”: David Bordwell, Popular Aesthetics, and Hong Kong Action Cinema

By Henry Jenkins

Dissertating with Bordwell: Gratitude and a Touch of Regret

By Carl Plantinga

The Future of Historical Poetics—Now 

By Colin Burnett

X-Men '97

Theme week organized by
Anthony DannarAuburn University

“We are no longer connected, Jean”: The alienation of X-women ’97

By Christina Knopf

Assembling Fanboy Auteurism

By Kalervo A. Sinervo

Musings on Race in X-Men '97

By Mychal Reiff-Shanks

“It’s Disney, what do you expect:” Anti-woke discourse in X-Men ‘97 fandom

By Anthony Dannar

Anxious Love, Anxious Laughter: The Art of Comedy in American Jewish Films.

Theme week organized by
Joseph OziasUniversity of Cincinnati

On the Cringe of Success: Finding the Humor in the Pain in Claudia Weill’s Girlfriends

By Joseph Ozias

The Good, The Bad, and The Ugly: How A Car Ride Can Make or Break a Relationship in The Heartbreak Kid

By Stella Fried

“You’re Hurting Me”: Comedic Rhythms for Tragic Ends in Ronald Bronstein’s Frownland

By Clark Comstock

Uncertainty and Liminality in the Coen Brothers’s A Serious Man (2009)

By Bryce Bullins

"To Speak or to Die”: Voice, Love, and Loss in Call Me By Your Name

By Quinn Moyer

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