Beyond the Checkpoint: Visual Practices in America’s Global War on Terror. Amherst: University of Massachusetts Press, 2014.
“Fictive Intimacies of Detention: Affect, Imagination, and Anger in Art from Guantánamo Bay.” Cultural Studies 32, 1 (2018): 81-104. Special issue on “Mediating Affect.” Edited by Sarah Cefai.
“Atrocity and Aporiae: Teaching the Abu Ghraib Images, Teaching Against Transparency.” Cultural Studies Critical Methodologies 14, no. 1 (February 2014): 29-39
“Pixelizing Atrocity.” Philosophy of Photography 4, no. 1 (January 2014): 25-46.
“‘Thank You For Our Flat Daddy’: Photography, Imagination, and Citizenship as Child’s Play.” Photography & Culture 6, issue 1 (March 2013): 65-80.
“‘Safe, Humane, Legal, Transparent’: State Visions of Guantánamo Bay.” Reconstruction: Studies in Contemporary Culture 12, no. 4 (February 2013), http://reconstruction.eserver.org/Issues/124/Adelman_Rebecca.shtml.
“‘Suffering? You Haven’t Seen Anything Yet’: Rating the Global War on Terror in American Film.” Jura Gentium Cinema Dossier on Horror and Politics (December 2009). http://www.jgcinema.com/single.php?sl=global-war-terror-american-film.
Sold(i)ering Masculinity: Photographing the Coalition’s Male Soldiers.” Men and Masculinities 11, no. 3 (April 2009): 259-285.
“‘When I Move, You Move’: Thoughts on the Fusion of Hip-Hop and Disability Activism.” Disability Studies Quarterly 25, no. 1 (Winter 2005).
Chapters in Anthologies
“Imperial Cry-Faces: Women Lamenting the War on Terror.” In Imperial Benevolence: U.S. Foreign Policy and American Popular Culture Since 9/11, edited by Scott Laderman and Tim Gruenewald, 25-49. Oakland: University of California Press, 2018.
“The Coffin, the Camera, and the Commodity: Visualizing American Military Dead at Dover.” In On Not Looking: The Paradox of Contemporary Visual Culture, edited by Frances Guerin, 229-250. New York: Routledge, 2015.
“Re(con)figuring the Spectacle: State Flexibility in Response to Imaged Terror.” In Engaging Terror: A Critical and Interdisciplinary Approach [Selected Proceedings from the 2008 Human Condition Series Conference on Terror], edited by Marianne Vardalos et al., 149-158. Boca Raton, FL: Brown Walker Press, 2009.
“‘Fort Living Room’: Gender, Race, Class, Sexuality, And Sentiment In Last Letters Home.” In Culture, Trauma, and Conflict: Cultural Studies Perspectives on War, edited by Nico Carpentier, 21-45. Newcastle upon Tyne: Cambridge Scholars Publishing, 2007. Second edition released in 2015.
“‘Respek’: Misunderstanding, Humor, and Ethnicity in Da Ali G Show.” In Seeking Identity: Language in Society, edited by Nancy Mae Antrim, 106-132. Newcastle upon Tyne, UK: Cambridge Scholars Publishing, 2007.