Beyond the Checkpoint: Visual Practices in America’s Global War on Terror. Amherst: University of Massachusetts Press, 2014.
“‘That Was Mean, Motari’: Spectatorship, Sympathy, and Animal Suffering in Wartime.” Unlikely: Journal for Creative Arts (Melbourne, Australia), 1 (April 2015). http://unlikely.net.au/issue-1/that-was-mean-motari-65.
With Wendy Kozol. “Discordant Affects: Ambivalence, Banality, and the Ethics of Spectatorship.” Theory & Event 17, no.3 (2014). https://muse.jhu.edu/journals/theory_and_event/toc/tae.17.3.html.
“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.
“‘Safe, Humane, Legal, Transparent’: State Visions of Guantánamo Bay.” Reconstruction: Studies in Contemporary Culture 12, no. 4 (February 2013). http://reconstruction.eserver.org/124/Adelman_Rebecca.shtml.
Chapters in Anthologies
“‘Coffins After Coffins’: Screening Wartime Atrocity in the Classroom.” In The War of My Generation: Youth Culture and the War on Terror, edited by David Kieran, 223-245. New Brunswick, NJ: Rutgers University Press, 2015.
“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.
“Tangled Complicities: Extracting Knowledge from Images of Abu Ghraib.” In Knowledge & Pain, edited by Esther Cohen, Leona Toker, Manuela Consonni, and Otniel E. Dror, 355-380. Amsterdam: Editions Rodopi, 2012.