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Submissions from 2022

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The Beekeeper of Aleppo: a transnational collaboration, Nesrin Alrefaai and Matthew Spangler

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Collective Identities, Black Girlhood and 60s Vocal Groups, Apryl Berney

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In-Between Worlds: Performing [as] Bauls in an Age of Extremism, Sukanya Chakrabarti

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Kalikata to Calcutta to Kolkata to London: In Between a Colonial Past and a "Glocal" Present, Sukanya Chakrabarti

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[Review of] Indian Drama in English: The Beginnings, by Ananda Lal, Sukanya Chakrabarti

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Simulating the “city of joy”: state choreography and the re-appropriation of public spaces in Kolkata, Sukanya Chakrabarti

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Unearthed, Sukanya Chakrabarti, Amit Patel, and Ishika Seth

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A Nice Indian Boy, Sukanya Chakrabarti and Madhuri Shekar

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The Conscious Communicator: The Fine Art of Not Saying Stupid Sh*t, Janet M. Stovall and Kim Clark

Submissions from 2021

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Coded, Kirsten Brandt

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“Go back to India if you hate my people so much”: Consequences of Troubling the “Canon” in American Academia, Sukanya Chakrabarti

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[Review of] Tagore and Nationalism, by K. L. Tuteja and Kaustav Chakraborty, Sukanya Chakrabarti

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Public Obscenities, Sukanya Chakrabarti and Shayok Misha Chowdhury

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7000 Miles, Amy Glazer

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When a Handshake Meant Something: The Rise of Entertainment Law in Post-Paramount Hollywood, Peter Labuza

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One small action for the larger movement, Hojeong Lee

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Relentless villains or fervent netizens?: The alt-right community in Korea, Ilbe, Hojeong Lee

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To have and to hold: The possessive spectator, the spinster narrative, and Katharine Hepburn in David Lean's Summertime (1955), Alison L. McKee

Submissions from 2020

The Threepenny Opera by Bertolt Brecht and Kurt Weill, Kirsten Brandt

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A Doll's House by Henrik Ibsen, Kirsten Brandt and Anne-Charlotte Hanes Harvey

Mementos: Words in the Wind, Kirsten Brandt and Sol Lazo

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[Review of] Mahabarata, adapted by Geetha Reddy, Sukanya Chakrabarti

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No Make-Up, Sukanya Chakrabarti and Ranjita Chakravarty

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Dealing Dreams, Sukanya Chakrabarti and Jeffrey Lo

The Surrogate, Amy Glazer

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A Doll's House by Henrik Ibsen, Anne-Charlotte Hanes Harvey and Kirsten Brandt

Submissions from 2019

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Breaking the Code by Hugh Whitemore, Kirsten Brandt

The Comedy of Errors by William Shakespeare, Kirsten Brandt

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The Frankenstein Project, Kirsten Brandt

Urinetown: the Musical by Greg Kotis and Mark Hollman, Kirsten Brandt

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Launching Ships, Kirsten Brandt and Janet Hayatshahi

Launching Ships, Janet Hayatshahi and Kirsten Brandt

Submissions from 2018

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Richard III by William Shakespeare, Kirsten Brandt

Twelfth Night by William Shakespeare, Kirsten Brandt

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Launching Ships, Kirsten Brandt and Janet Hayatshahi

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Raabta, Sukanya Chakrabarti and Ranjita Chakravarty

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The Parting, Sukanya Chakrabarti and Salil Singh

Divine Conversations, Sukanya Chakrabarti and Ushanjali Dance

Launching Ships, Janet Hayatshahi and Kirsten Brandt

Submissions from 2017

A Midsummer Night’s Dream by William Shakespeare, Kirsten Brandt

Picasso at the Lapin Agile by Steve Martin, Kirsten Brandt

Stupid Fucking Bird by Aaron Posner, Kirsten Brandt

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The Book Club Play by Karen Zacarías, Kirsten Brandt

The Open Door, Kirsten Brandt

The Snow Queen, Kirsten Brandt, Rick Lombardo, and Haddon Kime

The Snow Queen, TYA Version, Kirsten Brandt, Rick Lombardo, and Haddon Kime

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Rabindranath Tagore and the Bauls: Representation and Performance of Bauls as Socio-political Actors, Sukanya Chakrabarti

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[Review of] So Near, Yet So Far: Badal Sircar’s Third Theatre, by Manujendra Kundu, Sukanya Chakrabarti

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The Plays of Kalidasa: Treading the Line between Constraint and Freedom, Sukanya Chakrabarti

Books from 2016

Kepler's Dream (Film), Amy Glazer

Submissions from 2013

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The Snow Queen, Kirsten Brandt, Rick Lombardo, and Haddon Kime

Submissions from 2012

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Marked Woman (1937) and the Dialectics of Art Deco in the Classical Gangster Genre, Drew Todd

Submissions from 1992

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She Had Eyes a Man Could Drown In: Narrative, Desire, and the Female Gaze in The French Lieutenant’s Woman, Alison McKee

Submissions from 1987

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Gamma and Dynamic Range Needs for an HDTV Electronic Cinematography System, Harry Mathias

Submissions from 1985

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A Proven Method of Establishing Exposure Indexes for Video Cameras, Harry Mathias

Submissions from 1984

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Point of View: Image Quality from a Non-Engineering Viewpoint, Harry Mathias