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   Essays (journal articles and book chapters)


“Precursor to the Puzzle: Narrational Strategies in Following

Critical Companion to Christopher Nolan, edited by Claire Parkinson and Isabelle Labrouillère (Lanham: Rowman and Littlefield, 2023): 15-29.

“Operationalizing Film Semiotics”

Open Semiotics (four volumes), edited by Amir Biglari (Paris: Éditions L’Harmattan, volume 3).

The Royal Tenenbaums
Screening American Independent Cinema, edited by Justin Wyatt and Wyatt Phillips (Routledge 2023): 342-50.


“The Motion Picture Screenplay as Data: Quantifying the Stylistic Differences Between Dialogue and Scene Text”
The Palgrave Handbook of Screenwriting Studies: History, Theory and Practice of Screenwriting Research, edited by Rosamund Davies, Paolo Russo, and Claus Tieber (Palgrave Macmillan, 2023): 151–66.


“The Logic of the Cinematic in Portrait of a Lady on Fire

Quarterly Review of Film and Video 39, 2 (2022): 254-71.

“Narration, Implicature and the Deceptive Puzzle Film”
Puzzling Stories: The Aesthetic Appeal of Cognitive Challenge in Literature, Film & Television, edited by Steven Willemsen & Miklós Kiss (Berghahn Press, 2022): 43-67.



“Revisiting Videogame Logic: Impossible Storyworlds in the Contemporary Hollywood Blockbuster”
Panoptikum 26 (2021): 155-68. FR



“Cutting to the Chase: Editing Jaws” 
The Jaws Book, edited by I.Q. Hunter and Matthew Melia (Bloomsbury, 2020): 49-63.

“Scholarly Exploration of the Creative Process: Integrating Film Theory and Practice”
Creative Practice Research in Film and Media, edited by Agnieszka Piotrowska (Edinburgh University Press, 2020): 133-49.


“The Wes Anderson Brand: New Sincerity Across Media”

Transmedia Directors: Artistry, Industry and New Audiovisual Aesthetics, edited by Lisa Perrott, Holly Rogers, Carol Vernallis (Bloomsbury, 2020): 19-34.



“‘Mind our Mouths and Beware our Talk’: Stylometric Analysis of Character Dialogue in The Darjeeling Limited

Journal of Screenwriting, 10:2 (2019): 127-43.


“Film Narratology: Causality, Puzzles, and Narrative Twists”

Film Theory Handbook, edited by Tom Conley and Hunter Vaughan (Anthem Press, 2018): 263-76.


“The Unnatural and Impossible Storyworlds of Michel Gondry’s Music Videos: The ‪ ‪Mise en Abyme‪ ‪of ‘Bachelorette’”‪‪

Volume ! 14:2 (2018):  83-96 [Available online: published in English and French]


“The Film Editors Who Invented the Hollywood Renaissance”

The Hollywood Renaissance, edited by Peter Kramer and Yannis Tzioumakis (Bloomsbury, 2018): 19-34.



“The Craft of Independent Filmmaking: Editing in John Sayles’ Return of the Secaucus Seven and Baby It’s You

A Companion to American Indie Film, edited by Geoff King (Wiley-Blackwell, 2017): 407-29.


“Creating a Cliffhanger: Narration in The Lost World: Jurassic Park

A Companion to Steven Spielberg, edited by Nigel Morris (Wiley-Blackwell, 2017): 122-36.

“Film Theory in the United States and Europe”
Oxford Research Encyclopedia of Literature, Editor-in-Chief Paula Rabinowitz (Oxford University Press, 2017). 



“The Film Critic Between Theory and Practice (Or: what every film critic needs to know)”
Film Criticism Volume 40, Issue 1, January 2016


 “La Politique des Auteurs in British Film Studies: Traditional versus Structural Approaches”
Mise au point 8 (2016) (Theories of Cinema: Cliques and Quarrels).

“The Politics of Form: A Conceptual Introduction to ‘Screen Theory’”

A Companion to Film and Politics, edited by Claire Molloy and Yannis Tzioumakis (Routledge, 2016): 51-61.


“Cognitive Semiotics Revisited: Reframing the Frame”

Embodied Cognition and Cinema, edited by Maarten Coëgnarts and Peter Kravanja (Leuven University Press, 2015): 295-308.


Inception’s Videogame Logic”

The Cinema of Christopher Nolan, edited by Jacqueline Furby and Stuart Joy (Wallflower Press, 2015): 189-200.


“Visual Rhetoric in Michel Gondry’s Music Videos: Antithesis and Similarity in Beck’s 'Deadweight'”

Empedocles: European Journal for the Philosophy of Communication, 5, 1-2 (2015): 49-57.


Source Code’s Videogame Logic”

Hollywood Puzzle Films, edited by Warren Buckland (Routledge, 2014): 185-97.


“The Acousmatic Voice and Metaleptic Narration in Inland Empire
The Oxford Handbook of Sound and Image in Digital Media, edited by Carol Vernallis, John Richardson, and Amy Herzog (Oxford University Press, 2013): 236-49.


“The Life-Cycle of Slumdog Millionaire on the Web” (with Thomas Elsaesser)
The Slumdog Phenomenon edited by Ajay Gehlawat (Anthem Press, 2013): 179-199.


“Measuring Online Word-of-Mouth: The Initial Reception of Inland Empire on the Web”
American Independent Cinema: Indie, Indiewood and Beyond, edited by Yannis Tzioumakis, Geoff King, and Claire Molloy (Routledge, 2013): 224-237.

“Symptomatic reading in Althusser, Cahiers du cinéma, and Zizek”
Jump Cut No. 55, fall 2013:


“Bodies in Filmic Space: The Mise en Scène of ‘Courtship Readiness’ in The Big Sleep
Senses of Cinema 66 (March 2013):



“Solipsistic Film Criticism”

New Review of Film and Television Studies, 10, 2 (2012): 288-98.

(Download: Revisiting ‘Solipsistic Film Criticism’: Reply to Clayton and Klevan).


“Film as a Specific Signifying Practice”
Semiotica, 187, 1-4 (2011): 49-81.


“Ghost Director: Did Hooper or Spielberg Direct Poltergeist (1982)?”

Digital Tools in Media Studies: Analysis and Research, ed.  Michael Ross, Manfred Grauer, and Bernd Freisleben (Transcript Verlag, 2009):133-44.


“What Does the Statistical Style Analysis of Film Involve?”

Literary and Linguistic Computing 23, 2 (2008): 219-30.


“Film and Media Studies Pedagogy”

In: Robert Kolker (ed.), The Oxford Handbook of Film and Media Studies (Oxford University Press, 2008): 527-56.


“Formalist Tendencies in Film Studies"

In: James Donald and Michael Renov (eds.) The Sage Handbook of Film Studies (Los Angeles: Sage, 2008): 312-27.



“1982: Movies and Other Worlds"

In: Stephen Prince (ed.), Screen Decades: the 1980s (Rutgers UP, 2007): 63-81.


“Box Office Figures and The Lord of the Rings"

In: Ernest Mathijs (ed.), The Lord of the Rings: Popular Culture in Global Context (Wallflower Press/Columbia University Press, 2006): 88-98 (written with Chris Long).


“A Rational Reconstruction of the ‘Cinema of Attractions’”

In: Wanda Strauven (ed.), The Cinema of Attractions Reloaded (Amsterdam University Press, 2006): 41-55.


“The Death of the Camera”

New Review of Film and Television Studies, 4, 3 (2006): 311-30.


(With Alison McMahan) “Cognitive Schemas and Virtual Reality”
Intelligent Agent vol. 5 no. 1 (2005):  



“‘Tales of Sound and Fury’: A Rational Reconstruction”

Die Spur Durch den Spiegel: Der Film in der Kultur der Moderne, edited by Michael Wedel, Johann N. Schmidt, and Malte Hagener (Berlin: Bertz Verlag, 2004): 387-95.

Translated into German by Michael Wedel.


“Orientation in Film Space: A Cognitive Semiotic Approach”

Recherches en communication, no.19 (2003): 87-102.


“‘A Sad, Bad Traffic Accident’: The Televisual Prehistory of David Lynch’s Film Mulholland Dr.”

New Review of Film and Television Studies, volume 1, no. 1 (2003): 131-47.


“The Auteur in the Age of the Blockbuster: Steven Spielberg and DreamWorks”

The Movie Blockbuster, ed. J. Stringer (London: Routledge, 2003): 84-98.


“A New Cultural History of Film”

Semiotica 145, 1/4 (2003): 281-88.

“The Artistry of Spielberg’s Long Takes”
The Question Spielberg: A Symposium, Senses of Cinema 27, July-August 2003



“Promoting Deep Learning Through the Use of Effective Textbooks”

Cinema Journal 41, 1 (2001): 121-27


“Narration and Focalisation in Wings of Desire

CineAction, 56 (2001): 26-33.


“The Last Word on Filmic Enunciation?”

Semiotica 135, 1/4 (2001): 211-26

A review essay discussing Francesco Casetti’s Inside the Gaze: The Fiction Film and its Spectator.


“A Response to Sellors’s ‘Mindless’ Approach to Possible Worlds”

Screen 41, 2 (Summer 2001): 222-26

“Black Cats, Dark Rooms, and Paper Tigers: A Reply to Petric and Grodal”
Film-Philosophy Electronic Salon, April 2001

A response to Mirko Petric and Torben Grodal’s reviews of my book The Cognitive Semiotics of Film on the film-philosophy list.


“Problem Formation in the Analytic Philosophy of Film”
Film-Philosophy Electronic Salon, August 2001

A review essay discussing Film Theory and Philosophy, edited by Richard Allen and Murray Smith.


“Video Pleasure and Narrative Cinema: Luc Besson’s The Fifth Element and Video Game Logic”

Moving Images, ed. J. Fullerton and A. Söderbergh (London: John Libbey, 2000): 159-64.

Translated into Finnish as: ‘Videonautinto ja kerronnalinen elokuva: Luc Bessonin The Fifth Element ja videopelin logiika’, in Lähikuva, no. 2 (2000): 84-91.


“Forensic Semiotics”

The Semiotic Review of Books, 10, 3 (September 1999): 9-12.

A review essay discussing Analysing for Authorship by Jill Farringdon.


“Film Semiotics”

A Companion to Film Theory, in Toby Miller and Robert Stam (eds.) (Oxford: Blackwell, 1999): 84-104.


“Between Science Fact and Science Fiction: Spielberg’s Digital Dinosaurs, Possible Worlds, and the New Aesthetic Realism”

Screen 40, 2 (Summer 1999):177-92.

Reprinted in: Liquid Metal: The Science Fiction Film Reader, ed. Sean Redmond (Columbia University Press, 2004)


“A Close Encounter with Raiders of the Lost Ark

Contemporary Hollywood Cinema, ed. Steve Neale and Murray Smith (London: Routledge, 1998):166-177.

“The Practice of Filmic Interpretation”
Film-Philosophy Electronic Salon, November 1998

A review essay discussing Noël Carroll’s book Interpreting the Moving Image.



“Traditions and Innovations in Film Theory”

Quarterly Review of Film and Video, 16, 2 (1997): 207-219.

A review essay discussing R. Allen’s Projecting Illusion and M. Smith’s Engaging Characters.


“Delay of the Cinema Age”

Semiotics of the Media, ed. Winfried Nöth (Berlin: Mouton de Gruyter, 1997): 219-29.


“The New Film Semiology”

Semiotics Around the World: Synthesis in Diversity, ed. Irmengard Rauch (Berlin: Mouton de Gruyter, 1997): 599-602.


“Relevance and Cognition: Towards a Pragmatics of Unreliable Filmic Narration”

Towards a Pragmatics of the Audio-Visual, Vol. 2: Theory and History, ed. Jürgen Müller (Munster: Nodus Publications, 1995): 55-66.


“Michel Colin and the Psychological Reality of Film Semiology”

Semiotica, 107, 1/2 (1995): 51-79.


“Towards a Tagmemic Analysis of Classical Narrative Film”

Kodikas/Code, 17, 1-4 (1994): 169-80.


“From System to Structure: The Film Semiology of Raymond Bellour”

Essays in Poetics, 18, 2 (1993): 42-68.


“Fredric on Film Theory”

New Formations, 16 (1992): 163-70.

A review essay discussing Fredric Jameson’s anthology of film essays Signatures of the Visible.


“The Structural Linguistic Foundation of Film Semiology”

Language and Communication, 11, 3 (1991): 197-216.


“Filmic Meaning: The Semantics-Pragmatics Interface”

Kodikas/Code 14, 3/4 (1991): 261-79.


“Critique of Poor Reason”

Screen, 30, 4 (1989): 80-103.

A review essay discussing Noël Carroll’s book Mystifying Movies.

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