Jerry Herron, "Homer Simpson's Eyes and the Culture of Late Nostalgia," Summer 1993, 43: 1-26.

Elizabeth Hollander, "Subject Matter: Models for Different Media," Fall 1991, 36: 133-46.

Richard Hutson, "John Ford's My Darling Clementine (1946)," Fall 2003, 84: 200-12.

Esther Jacobson, "The Structure of Narrative in Early Chinese Pictorial Vessels, Fall 1984, 8: 61-84.

David E. James, "Rock and Roll in Representations of the Invasion of Vietnam," Winter 1990, 29: 78-98.

Catherine Jurca, "Mildred Pierce, Warner Bros., and the Corporate Family," Winter 2002, 77: 30-51.

Catherine Gunther Kodat, "Saving Private Property: Steven Spielberg's American Dreamworks," Summer 2000, 71: 77-105.

Joseph Leo Koerner, "The Mortification of the Image: Death as a Hermeneutic in Hans Baldung Grien," Spring 1985, 10: 52-101.

Rosalind Krauss, "The Master's Bedroom," Fall 1989, 28: 55-76.

Ewa Lajer-Burcharth, "Pompadour’s Touch: Difference in Representation," Winter 2000, 73: 54-88.

Barbara Mann, "Modernism and the Zionist Uncanny: Reading the Old Cemetary in Tel Aviv," Winter 2000, 69: 63-95.

Tom McDonough, "Raymond Hains's 'France in Shreds' and the Politics of Décollage," Spring 2005, 90: 75-97.

D. A. Miller, "Anal Rope," Fall 1990, 32: 114-33.

Kim Ian Michasiw, "Nine Revisionist Theses on the Picturesque, Spring 1992, 38: 76-100.

Kathleen Moran and Michael Rogin, "'What's the Matter with Capra?': Sullivan's Travels and the Popular Front, "Summer 2000, 71: 106-34.

Erika Naginski, " Drawing at the Crossroads, "Fall 2000, 72: 64-81.

Richard T. Neer, "The Lion's Eye: Imitation and Uncertainty in Attic Red-Figure," Summer 1995, 51: 118-53.

Daniel Novak, "A Model Jew: 'Literary Photographs' and the Jewish Body in Daniel Deronda," Winter 2004, 85: 58-97.

Margaret Olin, "Lanzmann's Shoah and the Topography of the Holocaust Film," Winter 1997, 57: 1-23.

Margaret Olin, "Touching Photographs: Roland Barthes's 'Mistaken' Identification," Fall 2002, 80: 99-118.

Katalin Orbán, "Trauma and Visuality: Art Spiegelman's Maus and In the Shadow of No Towers," Winter 2007, 97: 57-89.

Satish Padiyar, "Who Is Socrates? Desire and Subversion in David's Death of Socrates (1787)," Spring 2008, 102: 27-52.

Nicholas Paige, "Bardot and Godard in 1963 (Historicizing the Postmodern Image)," Fall 2004, 88: 1-25.

Deborah Poole, "Figueroa Aznar and the Cusco Indigenistas: Photography and Modernism in Early Twentieth-Century Peru," Spring 1992, 38: 39-75.

T.V. Reed, "Unimagined Existence and the Fiction of the Real: Postmodern Realism in Let Us Now Praise Famous Men," Fall 1988, 24: 156-76.

Rolf Reichardt, "Light Against Darkness: The Visual Representations of a Central Enlightenment Concept," Winter 1998, 61: 95-148.

Michael Rogin, "'Democracy and Burnt Cork': The End of Blackface and the Beginning of Civil Rights," Spring 1994, 46: 1-34.

Michael Rogin, "Kiss Me Deadly: Communism, Motherhood, and Cold War Movies," Spring 1984, 6: 1-36.

Michael Rogin, "'Make My Day!':  Spectacle as Amnesia in Imperial Politics," Winter 1990, 29: 99-123.

Michael Rogin, "'The Sword Became a Flashing Vision': D. W. Griffith's The Birth of a Nation," Winter 1985, 9: 150-95.

Michael Rogin and Kathleen Moran, "Mr. Capra Goes to Washington," Fall 2003, 84: 213-48.

Renato Rosaldo, "Imperialist Nostalgia," Spring 1989, 26: 107-22.

Elaine Scarry, "On Vivacity: The Difference Between Daydreaming and Imagining-Under-Authorial-Instruction," Fall 1995, 52: 1-26.

Seeing Science, special issue, Fall 1992, number 40.

Richard Slotkin, "The Continuity of Forms: Myth and Genre in Warner Brothers' The Charge of the Light Brigade," Winter 1990, 29: 1-23.

David H. Solkin, "Joseph Wright of Derby and the Sublime Art of Labor ," Summer 2003, 83: 167-194.

Edward Snow, "'Meaning' in Children's Games: On the Limitations of the Iconographic Approach to Breugel," Spring 1983, 2: 27-60.  

Vivian Sobchack, "'Surge and Splendor': A Phenomenology of the Hollywood Historical Epic," Winter 1990, 29: 24-49.