Below, you can find links to my published works. If you are unable to access academic research articles because of paywalling or other institutional barriers, please feel free to let me know if I can provide you with a .pdf of any of my articles.
My research takes a cultural studies approach to a wide array of technology and popular culture artifacts.
Orson Welles in Focus: Texts and Contexts (co-edited with Sidney Gottlieb) (Indiana University Press, 2018).
Blurb: Through his radio and film works, such as The War of the Worlds and Citizen Kane, Orson Welles became a household name in the United States. Yet Welles’s multifaceted career went beyond these classic titles and included lesser-known but nonetheless important contributions to television, theater, newspaper columns, and political activism. Orson Welles in Focus: Texts and Contexts examines neglected areas of Welles’s work, shedding light on aspects of his art that have been eclipsed by a narrow focus on his films. By positioning Welles’s work during a critical period of his activity (the mid-1930s through the 1950s) in its larger cultural, political, aesthetic, and industrial contexts, the contributors to this volume examine how he participated in and helped to shape modern media. This exploration of Welles in his totality illuminates and expands our perception of his contributions that continue to resonate today.
Superhero Synergies: Comic Book Characters Go Digital (co-edited with Matthias Stork) (Rowman & Littlefield, 2014).
Blurb: In the age of digital media, superheroes are no longer confined to comic books and graphic novels. Their stories are now featured in films, video games, digital comics, television programs, and more. In a single year alone, films featuring Batman, Spider-Man, and the Avengers have appeared on the big screen. Popular media no longer exists in isolation, but converges into complex multidimensional entities. As a result, traditional ideas about the relationship between varying media have come under striking revision. Although this convergence is apparent in many genres, perhaps nowhere is it more persistent, more creative, or more varied than in the superhero genre.
Superhero Synergies: Comic Book Characters Go Digital explores this developing relationship between superheroes and various forms of media, examining how the superhero genre, which was once limited primarily to a single medium, has been developed into so many more. Essays in this volume engage with several of the most iconic heroes—including Batman, Hulk, and Iron Man—through a variety of academic disciplines such as industry studies, gender studies, and aesthetic analysis to develop an expansive view of the genre’s potency. The contributors to this volume engage cinema, comics, video games, and even live stage shows to instill readers with new ways of looking at, thinking about, and experiencing some of contemporary media’s most popular texts.
This unique approach to the examination of digital media and superhero studies provides new and valuable readings of well-known texts and practices. Intended for both academics and fans of the superhero genre, this anthology introduces the innovative and growing synergy between traditional comic books and digital media.
James N. Gilmore “’Put Your Hand Against the Screen’: U2 and Mediated Environments,” Continuum: Journal of Media and Cultural Studies 33, no. 1 (2019): 65-76. https://doi.org/10.1080/10304312.2018.1537392
Abstract: This paper analyzes how the rock band U2 uses screens as central components of the experiences of their concerts. Examining moments from throughout their career, and emphasizing their recent ‘Innocence and Experience’ and ‘Experience and Innocence’ tours, this article argues that U2’s constant employment of technology is less about spectacle, and more about the constitution of ‘mediated environments’ that reflect and embody how people live in and through all manner of media, including screens. Drawing on conceptions of U2 as a band interested in problem-solving and innovation, I position their on-going engagements with technology as a processual search for ways to live productively alongside technology. I use media studies frameworks to argue U2 expresses a politics of ambivalence through their use of screens, one that cannot resolve the tensions between the communicative power of technology and its potential to erode social relationships. However, this politics of ambivalence – as expressed through their tours – is productive, in that it produces for attendees ways of thinking and interacting with screen technologies.
James N. Gilmore, “From Ticks and Tocks to Budges and Nudges: The Smartwatch and the Haptics of Informatic Culture,” Television & New Media18, no. 3 (2017): 189-202. https://doi.org/10.1177%2F1527476416658962
Abstract: This article uses the emergence of smartwatch models from 2012 to 2015—including the Pebble Watch, Android Wear, and Apple Watch—to explore the relationship between “instants” and “information.” Through a focus on the ways in which smartwatches notify, buzz, and otherwise touch the skin, this article develops the idea of the “haptic instant” as a key feature of this technology. The haptic instant, in calling attention to the delivery of news alerts, e-mails, personal communication, and other notifications to the wearer’s wrist, is part of the larger formation of bodies capable of living in a culture increasingly reliant on computer information systems for the management of daily life.
Dan Hassoun and James N. Gilmore, “Drowsing: Towards a Concept of Sleepy Screen Engagement,”Communication and Critical/Cultural Studies 14, no. 2 (2017): 103-119. https://doi.org/10.1080/14791420.2016.1276611
Abstract: Sleep frequently intersects with media technologies in routinized yet unpredictable ways. This article proposes a concept of “drowsing” to describe how sleepiness occurs and persists across aspects of banal media life. Focusing on nighttime tablet use and blue light engagement, we argue that sleep requires a multidimensional and embodied account of how cultural practices, biological rhythms, and incidental occurrences interact. Ultimately, focusing on sleep suggests the contradictory roles that technologies play within the duration of everyday life—both providing a sense of calmness and deceleration, even as they accelerate life or contribute to long-term bodily harm.
James N. Gilmore, “Zero Dark Thirty and the Writing of Post-9/11 History,” Quarterly Review of Film and Video 34, no. 3 (2017): 275-294. https://doi.org/10.1080/10509208.2016.1194110
Abstract: This article provides a history of the debate surrounding Zero Dark Thirty‘s (2012) representation of torture in post-9/11 US foreign policy. It examines the different ways criticism of the film was tied to a larger political debate about the US’s employment of torture as a human rights violation, and it provides a textual criticism of the film to examine more acutely how tortured is depicted. The article takes a historiographic approach to Zero Dark Thirty, examining how it uses sources to build a particular understanding of torture.
James N. Gilmore, “Everywear: The Quantified Self and Wearable Fitness
Technologies,” New Media & Society 18, no. 11 (2016): 2524-2539. https://doi.org/10.1177%2F1461444815588768
Abstract: What does it mean to wear a routine? This article explores a number of implications for the engagement of wearable fitness technology in everyday life. It straddles both a critical hermeneutic that explores the institutional prescription of wearable technology to combat the so-called “obesity epidemic” in American society, as well as a more phenomenological and experiential analysis that argues these data-driven technologies actually produce a qualitative re-engagement with social relationships. Expanding and enriching Adam Greenfield’s concept of “everyware” to describe ubiquitous technologies, this article develops the sub-variant “everywear” as a way to understand the increasing prevalence of technologies that are worn or in some way tethered to the body. Ultimately, it argues that studies of technology in everyday life must attend to a multiplicity of complex individual and institutional values and engagements. Furthermore, it suggests quantitative and qualitative modes of being operate dialectically in the production of everyday practice and experience.
James N. Gilmore, “The Curious Adaptation of Benjamin Button: Or, The Dialogics of Brad Pitt’s Face,” Mediascape, Fall 2014, available at: http://www.tft.ucla.edu/mediascape/Fall2014_CuriousAdaptation.html
James N. Gilmore, “Progressivism and the Struggles Against Racism and Anti-Semitism: Welles’s Correspondences in 1946,” in Orson Welles in Focus: Texts and Contexts, Eds. James N. Gilmore and Sidney Gottlieb (Bloomington: Indiana University Press, 2018): 131-149
Sidney Gottlieb and James N. Gilmore, “Introduction: The Totality of Orson Welles,” in Orson Welles in Focus: Texts and Contexts, Eds. James N. Gilmore and Sidney Gottlieb (Bloomington, IN: Indiana University Press, 2018): 1-10
James N. Gilmore, “Circulating The Square: Digital Distribution as (Potential) Activism,” in The Age of Netflix: Critical Essays on Streaming Media, Digital Delivery, and Instant Access, Eds. Cory Barker and Myc Wiatrowski (2017): 120-140.
James N. Gilmore, “Spinning Webs: Constructing Authors, Genre, and Fans in the Spider-Man Film Franchise,” in Make Ours Marvel: Media Convergence and a Comics Universe, Ed. Matt Yockey (Austin: University of Texas Press, 2017): 248-267.
James N. Gilmore, “A Eulogy of the Urban Superhero: The Everyday Destruction of Space in the Superhero Film,” in Representing 9/11: Trauma, Ideology, and Nationalism in Literature, Film, and Television, Ed. Paul Petrovic (Lanham, MD: Rowman and Littlefield, 2015), 53-63.
James N. Gilmore and Matthias Stork, “Introduction: Heroes, Converge!” Superhero Synergies: Comic Book Characters Go Digital, Eds. James N. Gilmore and Matthias Stork (Lanham, MD: Rowman & Littlefield, 2014), 1-10.
James N. Gilmore, “Will You Like Me When I’m Angry? Discourses of the Digital in Hulk and The Incredible Hulk,”in Superhero Synergies: Comic Book Characters Go Digital, Eds. James N. Gilmoreand Matthias Stork, (Lanham, MD: Rowman & Littlefield, 2014), 11-26.
James Gilmore, “‘I Moved On, and So Did the Rest of Us’: The Masculine Ideal and its Discontents in Superman Returns,” in Examining Lois Lane: The Scoop on Superman’s Sweetheart, Ed. Nadine Farghaly (Lanham, MD: Scarecrow Press, 2013), 211-234.