Beyond the Checkpoint: Visual Practices in America’s Global War on Terror. Amherst: University of Massachusetts Press, 2014.

Journal Articles
“The Limits of Recognition: Rethinking Conventional Critiques of Drone Warfare.”  American Studies 59, no. 1 (May 2020), 93-111.

“Immersion and Immiseration in Alejandro González Iñárritu’s Carne y Arena (event review). American Quarterly 71, 4 (December 2019): 1093-1109.

“One Apostate Run Over, Hundreds Repented: Excess, Unthinkability, and Infographics from the War with ISIS.”  Critical Studies in Media and Communication 35, no. 1 (January 2018): 57-73.  Special issue on “ISIS and Communication Media Beyond the Spectacle: Communication Media, Networked Publics, Terrorism.”  Edited by Mehdi Semati and Piotr M. Szpunar [invited submission].

“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.

With Wendy Kozol.  “Ornamenting the Unthinkable: Visualizing Survival Under Occupation.”  WSQ: Women’s Studies Quarterly 44, no. 1-2 (Spring/Summer 2016): 171-187.

“‘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.

“‘Thank You For Our Flat Daddy’: Photography, Imagination, and Citizenship as Child’s Play.” Photography & Culture 6, issue 1 (March 2013): 65-80.

“‘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.

Chapters in Anthologies
“Hospitable Looking: Towards a Different Way of Seeing the War in Syria.”  In Photography and Its Publics, edited by Melissa Miles and Edward Welch, 167-184.  London: Bloomsbury, 2020.

With Wendy Kozol.  “Unremarkable Suffering: Banality, Spectatorship, and War’s In/Visibilities.”  In In/Visible War: The Culture of War in Twenty-first-Century America, edited by John Louis Lucaites and Jon Simons, 89-110.  New Brunswick, NJ: Rutgers University Press, 2017.

“‘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.

“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.

“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.