Transnational cinema; visual art and media theory; essay films; modernism, literary and visual avant-gardes; little magazines; pre-code cinema; feminist, gender, and sexuality studies.
“light filtering through those shutters.” Camera Obscura 34.3 (2019).
“‘Mirror Work’ and the Epidemic Imaginary in New Queer Cinema.” Synapsis: A Health Humanities Journal 9.12 (2019).
“Neither Day Nor Night: Peggy Ahwesh’s Palestinian Essays.” Framework 58.1 (2017).
“Mind Cure and Ecstasy on the Pages of Close Up.” Screen 58.3 (2017).
“Inside Jane Heap’s Boudoir: ‘the best conversation the world has to offer” Aster(ix) 2 (2016).
“Torture, Terror, and Digitality.” Afterimage 43.3 (2015).
“Distracted Wreading [From Structural Film to Digital Poetics].” Mot Juste exhibition catalogue, Mandeville Gallery (February 2015).
“Shock and ‘Perfect Contemplation.’” Modernism/Modernity 21.1 (2014).
“The City Films of Jem Cohen.” CineAction 93 (2014).
“Towards a ‘criticism that is creative’: Ment (DE) 5.1 (2014).
Routledge Encyclopedia of Modernism, entries on The Smiling Mme. Beaudet and Seashell and the Clergyman.
Convolution: Journal for Critical Experiment. Edited by Paul Stephens and Jenelle Troxell. Design by We Have Photoshop.
Convolution 02: Wreading
Breaking the Rules: Great Women of the Pre-Code Era, March-June 2023.
Distracted Wreading: From Structural Film to Digital Poetics, 2015.
“The Beginnings of Feminist Film Criticism” / The Cinematologists podcast 2020.
Jenelle Troxell has received grants from the Beinecke Rare Book and Manuscript Library, Deutscher Akademischer Austauschdienst (DAAD), American Business Women’s Association, and the Max Kade Foundation.
She has held visiting professor positions at Pratt Institute (Brooklyn, NY) and Al-Quds University-Bard Honors College (Abu Dis/East Jerusalem) and was a Scholar in Residence at New York University.