Book
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.
“Security Glitches: The Failure of Universal Camouflage and the Fantasy of ‘Identity Intelligence.’” Science, Technology, and Human Values 43, 3 (May 2018): 431-463.
With Wendy Kozol. “Ornamenting the Unthinkable: Visualizing Survival Under Occupation.” WSQ: Women’s Studies Quarterly 44, no. 1-2 (Spring/Summer 2016): 171-187.
“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/124/Adelman_Rebecca.shtml.
“Sowing the Sea: Visualizing Time, Terror, and Osama bin Laden.” Continuum: Journal of Media & Cultural Studies 26, no. 5 (2012): 767-782.
“‘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
“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.
“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.
“‘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.
“‘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.
