Joshua Yumibe, Moving Color: Aesthetic History of Applied Color Technologies in Silent Cinema (Cinema and Media Studies, Summer 2007)

Charles Tepperman, Communicating a New Form of Knowledge: Tracing the Amatuer Cinema League and Its Films (1926-1954) (Cinema and Media Studies, Spring 2007)

Daniel Morgan, "A Feeling of Light": Cinema, Aesthetics, and the Films of Jean-Luc Godard at the End of the Twentieth Century (Cinema and Media Studies, Autumn 2007)

Chika Kinoshita, Mise-En-Scene of Desire: The Films of Mizoguchi Kenji (Cinema and Media Studies, Winter 2007)

Kaveh Askari, Moving Pictures before Motion Pictures: The Pictorial Tradition and American Media Aesthetics, 1890-1920 (Cinema and Media Studies, Summer 2005)

Weihong Bao, Baptism by Fire: Spectatorship and Aesthetic Affect In Chinese Cinema from Shanghai to Chongqing (Cinema and Media Studies/East Asian Languages and Civilizations, 2005).

Allison Whitney, The Eye of Daedalus: A History and Theory of IMAX Cinema (Cinema and Media Studies, 2005).

Oliver Gaycken, Devices of Curiosity: Cinema in the Field of Scientific Visuality (English, 2005).

Terri Francis, Josephine Baker's Museum: Black Dance, French Cinema, Harlem Renaissance (English, 2004).

Robert Spadoni, The Uncanny of Early Sound Film: Classic Horror Cinema and the Return of the Medium-Sensitive Viewer (English, 2003).

Pedram Partovi, Developing Communication: Politics, MassMedia, and Society in Iran, 1945-1979 (History, 2003).

Michael Stamm, Mixed Media: Newspaper Ownership of Radio Stations and the Reorientation of American Culture, 1920-1950 (History, 2003).

Sharon Hayashi, Traveling Film History: Language and Landscape in Japanese Cinema, 1931-1945 (History, 2003).

Jean Ma, Time without Measure, Sadness without Cure: Hou Hsiao-hsien's Films of History (English, 2003).

Michelle Raheja, Screening Identity: Beads, Buckskin and Redface in Autobiography and Film (English, 2002).

Brandon Johnson, Spirits on the Stage: Public Mediums, Spiritualist Theater, and American Culture, 1848-1893 (History, 2000).

Jacqueline Stewart, Migrating to the Movies: The Emergence of Black Urban Film Culture (English, 1999).

Roderick Coover, Visualizing Cultures: Metaphors, Montage, and the Topologies of Worldmaking in the Representation of Performance and Politics in Ghana of the 1990s (History of Culture, 1999).

Temby Caprio, Women's Film Culture in the Federal Republic of Germany: Female Spectatorship, Politics and Pleasure from the Fifties to the Nineties (Germanic Studies, 1999).

Zhang Zhen, 'An Amorous History of the Silver Screen: Film Culture, Urban Modernity, and the Vernacular Experience in China, 1896-1937 (East Asian Lang. & Civ., 1998).

Teri Silvio, Drag Melodrama/Feminine Public Sphere/Folk Television: 'Local Opera' and Identity in Taiwan (Anthropology, 1998).

Lise Shapiro, Consuming Fantasies: Labor, Leisure, and the London Shopgirl, 1890-1914 (English, 1998).

Jennifer Peterson, World Pictures: Travelogues and the Lure of the Exotic, 1896-1920 (English, 1998).

Adam Lowenstein, Shock Waves: Trauma, History, and Art in the Modern Horror Film (English, 1998).

Arthur Knight, African-American Musical Performance and the Hollywood Musical (English, 1998).

Hank Sartin, Drawing on Hollywood: Warner Bros. Cartoons and Hollywood, 1930-1950 (English, 1998).

Brian Currid, The Acoustics of National Publicity: Music in German Mass Culture, 1924-1945 (Music, 1998).

Paul Young, Virtual Fantasies, Public Realities: American Cinema and the Rival Media, 1895-1995 (English, 1997).

Delia Caparoso Konzett, Diasporic Modernism: Anzia Yezierska, Zora Neale Hurston, Jean Rhys (English, 1997).

Sabine Haenni, The Immigrant Scene: The Commercialization of Ethnicity and the Production of Publics in Fiction, Theater, and the Cinema, 1890-1915 (English, 1997).

Leslie H. Abramson, In the Eye of the Director: Self-Reflexivity in the Films of Alfred Hitchcock (English, 1997).

Anne Wolverton, The Dilemmas of Gender in the Mass Media: Mary, Doug, and Charlie, 1915-1933 (History, 1996).

Andrea Sanders, Witnesses to the Cold War: A Literary and Cultural Analysis of Containments in 1950s Narratives by Hitchcock, Mailer, Kerouac, Ellison, Arnow, and Nabokov (English, 1996).

Geoffrey B. Pingree, Forging Witnesses: Rhetorics of Documentary Representation in the Spanish Civil War (English, 1996).

Alison Landsberg, Prosthetic Memory: The Logics and Politics of Memory in Modern American Culture (English, 1996).

Stephen Putnam Hughes, Is There Anyone Out There? Exhibition and the Formation of Silent Film Audiences in South India (SALC, 1996).

Anna Maria Torriglia, Textualizing Reconstruction: Postwar, Pre-Boom Italy in Cinema and Prose Fiction (Romance Lang. and Lit., 1995).

Anne G. Balay-Wilson, Domestic Modernism: Appropriations of the Feminine Past in American Women's Novels (English, 1994).

Pamela Robertson, Guilty Pleasures: Camp and the Female Spectator (English, 1993).

Shari Roberts, Seeing Stars: Feminine Spectacle, Female Spectators, and World War II Hollywood Musicals (English, 1993).

Candace Mirza, Collaboration as Resistance: Alternative Traditions within Classical Hollywood Filmmaking (English, 1993).

Marianne Conroy, Playing Both Ends against the Middlebrow: Difference, National Identity, and Cultural Value in the Postwar American Film (English, 1993).

Nancy Susan Wikarski, A Symphony of Shadows: The Transmigration of German Expressionism into American Film (English, 1990).

Mary Louise Devereaux, Epistemology of Cinema: Audience Response to the Moving Image (Philosophy, 1981).

John William Llewellyn, Narration in Novels and Film: An Approach to the Study of Filmic Adaptation of Novels (History of Culture, 1980).

Virginia Wright Wexman, The Hard-Boiled Detective on Film (English, 1976).

George Richard Buchanan, Rhythm and Experience: The Expanding Art of Rhythm in Novel and Film (Ideas and Methods, 1973).

George L. Mitchell, The Image of the City in the American Film: 1896-1928 (English, 1972).

Hannah Hardgrave, A Theory of Film Criticism (Philosophy, 1971).