My research focuses on documentary and nontheatrical film with an emphasis on gender, its intersections with race and class, and queer methodologies of film analysis and archiving. I am interested, broadly, in how moving images have mapped place and social identity in the U.S. and the American South, as well as how marginal films and screen media circulate in archives and new media spaces today.
In my current project, I analyze how government-produced films made in Georgia in the 1950s and early 60s centered performances of "respectable" masculinity and femininity as a way to recalibrate images of Black and White race relations in the Jim Crow South. These films rendered an institutional ideology of white supremacy in a subtler form—the idyllic visual field of state-sponsored media.
(forthcoming) “A Rural Landscape for White Men, Like Brian Kemp: The Midcentury Cinema and Nontheatrical Legacy of Georgia Agricultural Extension” Journal of Cinema and Media Studies (April 2023)
"Racial Ideology in Government Films: The Past and Present of the US Information Service’s Men of the Forest (1952)." Genealogy 6, no. 41 (2022).
“Queer Theory and Nontheatrical Film: Perversion in the Public Domain.” Oxford Handbook of Queer Cinema, eds. Amy Villarejo and Ronald Gregg. New York: Oxford University Press, 2021.
"Replaying a Useful South: Black Women, Midcentury Domesticity, and the Films of the Georgia Department of Public Health." Southern Cultures 25, no. 1 (Spring 2019): 88-105.
“Bitter Tears and Pretty Excess in Fassbinder’s The Bitter Tears of Petra von Kant (1972) and Veronika Voss (1982).” Edinburgh German Yearbook 10: Queering German Culture. Rochester: Camden House, 2017.
"Querying Queerness in the Film Archive, Tracing the Ephemeral Anders als die Andern (Different from the Others) (1919).” SYNOPTIQUE 4, no.1 (Summer 2015): 35-60.
“Robert M. Young.” Filmmaker Bio for Academic Film Archive of North America. October 2012.