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.