Since her retirement in 2006, she continues to publish books and articles on moving image history and culture. In 2007, she set up the independent campaigning blog bfiwatch to monitor developments at the BFI,[4] and she has extended her work to scholarly videography.
Publications
Books
Dancing with Pixels: Undoing Representation, London: Open Book, 2019.
Fashioning the Nation: Costume and Identity in British Cinema, London: British Film Institute, 1996.
Women and Film: A Sight and Sound Reader, London: Scarlet Press/Philadelphia: Temple University Press, 1993. With Philip Dodd.
The Cinema Book, London: British Film Institute, 1985.
The Cinema Book
Selected articles
'Revisiting Performance: Nicole Kidman's Enactment of Stardom', in Sabrina Qiong Yu and Guy Austin (eds). Revisiting Star Studies: Cultures, Themes and Methods, Edinburgh: Edinburgh University Press, 2017.
Nicole Kidman
'History in the Making: Sofia Coppola's Marie Antoinette and the New Auteurism', in Tom Brown and Belen Vidal (eds). The Biopic in Contemporary Film Culture (AFI Readers), New York: Routledge, 2013.
Sofia Coppola;
Marie Antoinette;
Biopics
'Another Story: Myth and History in Bonnie and Clyde (1967)', in Tom Brown and James Walters (eds), Film Moments: Criticism, History, Theory, London: BFI/Palgrave Macmillan, 2010. Bonnie and Clyde
'Sofia Coppola', in Yvonne Tasker (ed.), Fifty Contemporary Film Directors, Oxford and New York: Routledge, 2010.
Sofia Coppola
‘Transnational Utopias: Baz Luhrmann and Australian Cinema’, Transnational Cinemas 1 (1), 2010.
Baz Luhrmann;
Cinema of Australia
‘On Memorialising Gainsborough Studios’, Journal of British Cinema and Television 6 (2), 2009.
Gainsborough Pictures
‘Whatever Happened to BFI Publishing?’, Cinema Journal 47 (4), Summer 2008.
The Cinema Book
‘An American in Paris’, in Mandy Merck (ed.), America First: Naming the Nation in US Film, Oxford and New York: Routledge, 2007. An American in Paris
‘Portrait of a Lady: Sofia Coppola’, Sight and Sound vol. 16, no. 11, November 2006.
Sofia Coppola
'Rethinking Nostalgia: In the Mood for Love and Far from Heaven', in Screening the Past: Memory and Nostalgia in Cinema, Oxford and New York: Routledge, 2005.
Wong Kar-wai;
Todd Haynes
' "Sean Connery Is James Bond": Re-fashioning British Masculinity in the 1960s', in Rachel Moseley (ed.), Fashioning Film Stars: Dress, Culture, Identity, London: British Film Institute, 2005. With Claire Hines.
Sean Connery
‘The Trouble with Sex: Diana Dors and the Blonde Bombshell Phenomenon’, in Bruce Babington (ed.), British Stars and Stardom: From Alma Taylor to Sean Connery, Manchester: Manchester University Press, 2001.
Diana Dors
'No Fixed Address: The Women's Picture from Outrage to Blue Steel', in Steve Neale and Murray Smith (eds), Contemporary Hollywood Cinema, London and New York: Routledge, 1998.
Ida Lupino;
Kathryn Bigelow
'Neither Here Nor There: National Identity in Gainsborough Costume Drama', in Andrew Higson (ed.), Dissolving Views: Key Articles on British Cinema, London and Washington: Cassell, 1996.
'Outrage (1950)', in
Annette Kuhn (ed.), Queen of the 'B's: Ida Lupino Behind the Camera, Trowbridge: Flicks Books, 1995.
Ida Lupino;
Outrage
'Border Crossings: Women and Film in Context', in Pam Cook and Philip Dodd (eds), Women and Film: A Sight and Sound Reader, London: Scarlet Press/Philadelphia: Temple University Press, 1993.
'Women in the Western', in Edward Buscombe (ed.), The BFI Companion to the Western, London: British Film Institute/André Deutsch, 1988. Reprinted in Jim Kitses and Gregg Rickman (eds), The Western Reader, New York: Limelight, 1998.
'Mandy: Daughter of Transition', in Charles Barr (ed.), All Our Yesterdays: 90 Years of British Cinema, London: British Film Institute, 1986.
Mandy (film)
'Melodrama and the Women's Picture', in Sue Aspinall and Robert Murphy (eds), BFI Dossier 18: Gainsborough Melodrama, London: British Film Institute, 1983.
Gainsborough melodramas
'Masculinity in Crisis? Tragedy and Identification in Raging Bull', Screen vol. 23, no. 3/4, Sept/Oct 1982.
Raging Bull;
Martin Scorsese
'Duplicity in Mildred Pierce', in E. Ann Kaplan (ed.), Women in Film Noir, London: British Film Institute, 1978. Revised edition 1998. Mildred Pierce
'Exploitation Films and Feminism', Screen vol.17, no. 2, Summer 1976.
Stephanie Rothman
'Approaching the Work of Dorothy Arzner', in
Claire Johnston (ed.), Dorothy Arzner: Towards a Feminist Cinema, London: British Film Institute, 1975.
Dorothy Arzner
'The Place of Woman in the Cinema of Raoul Walsh', in Phil Hardy (ed.), Raoul Walsh, Edinburgh: Edinburgh Film Festival, 1974. With
Claire Johnston. Reprinted in
Barry Keith Grant (ed.), Auteurs and Authorship: A Reader, Oxford: Blackwell, 2008.
Raoul Walsh;
The Revolt of Mamie Stover
^See E. Ann Kaplan, 'Aspects of British feminist film theory: A critical evaluation of texts by Claire Johnston and Pam Cook', Jump Cut no. 2, 1974, pp. 52–5; and 'Interview with British Cine-Feminists', in Karen Kay and
Gerald Peary (eds), Women and the Cinema: A Critical Anthology, New York: E.P. Dutton, 1977, pp. 393–406.
^See Constance Penley (ed.), Feminism and film theory, New York and London: Routledge, 1988; Judith Mayne, Directed by Dorothy Arzner, Bloomington, Indiana: Indiana University Press, 1994.