@article{gordon_2013, title={Foreword}, volume={13}, number={1}, journal={Moving Image}, author={Gordon, M.}, year={2013}, pages={VIII-} }
 @article{orgeron_orgeron_2012, title={Foreword}, volume={12}, number={2}, journal={Moving Image}, author={Orgeron, M. and Orgeron, D.}, year={2012}, pages={VII-} }
 @inproceedings{orgeron_2009, title={"You are invited to participate": Interactive fandom in the age of the movie magazine}, volume={61}, number={3}, booktitle={Journal of Film and Video}, author={Orgeron, M.}, year={2009}, pages={3–23} }
 @misc{orgeron_2009, title={The films of Samuel Fuller: If you die, I'll kill you!}, volume={29}, number={1}, journal={Historical Journal of Film, Radio and Television}, author={Orgeron, M.}, year={2009}, pages={139–141} }
 @article{orgeron_2008, title={Filming The Marines In The Pacific: An Interview With World War II Cinematographer Norman Hatch}, volume={28}, ISSN={0143-9685 1465-3451}, url={http://dx.doi.org/10.1080/01439680802077196}, DOI={10.1080/01439680802077196}, abstractNote={Click to increase image sizeClick to decrease image size Acknowledgments I am grateful for a Scholarly Project Award from the College of Humanities and Social Sciences at North Carolina State University, which has funded my investigation of World War II cinematography and which made this research trip and interview possible. Notes Notes 1. Almost all of the unofficial, amateur film that I’ve encountered from the war was shot by men in the Army. For example, the United States Holocaust Memorial Museum has begun to put its impressive moving image collection online and you can view some of this amateur (as well as official) film at http://resources.ushmm.org/film/search/index.php 2. Lawrence Suid, Guts & Glory: the making of the American military image in film, revised and expanded edition (Lexington, KY, University of Kentucky Press, 2002), 118. 3. With the Marines at Tarawa is viewable at http://www.archive.org/details/WiththeMarinesatTarawa and To The Shores of Iwo Jima at http://www.archive.org/details/iwojima 4. Hatch is, of course, referring to the bombing of Pearl Harbor on December 7, 1941. 5. Hayward had been a Hollywood actor since the 1930s, and served as Director for With the Marines at Tarawa. 6. Peter Maslowski notes that, ‘Before Tarawa, the Marines’ photography had been unimpressive. Wake Island had been missed entirely, and coverage of the six-month battle for Guadalcanal was sparse,’ largely due to a severe lack of cameramen, equipment, and film. Peter Maslowski, Armed with Cameras: the American military photographers of World War II (New York, The Free Press, 1993), 223. Maslowski goes on to argue that Tarawa marked an important turning point in the Marines’ photographic capabilities. 7. The film is viewable at the Internet Archive, http://www.archive.org/details/glamour_gal}, number={2}, journal={Historical Journal of Film, Radio and Television}, publisher={Informa UK Limited}, author={Orgeron, Marsha}, year={2008}, month={Jun}, pages={153–173} }
 @book{orgeron_2008, title={Hollywood ambitions: Celebrity in the movie age}, ISBN={0819568643}, publisher={Middletown, Conn: Wesleyan University Press}, author={Orgeron, M.}, year={2008} }
 @article{orgeron_orgeron_2007, title={Familial Pursuits, Editorial Acts: Documentaries after the Age of Home Video}, volume={60}, ISSN={1542-4251}, url={http://dx.doi.org/10.1353/vlt.2007.0023}, DOI={10.1353/vlt.2007.0023}, abstractNote={ince the 1990s a significant number of documentaries have been produced that rely heavily upon primary footage taken by the subject(s) of the documentaries over the course of their purportedly predocumentary lives. In films like Tarnation (Jonathan Caouette, 2003) the film’s subject and director are the same. More often, as in Capturing the Friedmans (Andrew Jarecki, 2003) and Grizzly Man (Werner Herzog, 2005), the film’s director employs footage that was taken by and of the documentary subject(s). In so doing, the documentary director assumes the role of editor and interpreter of a prerecorded, personal moving image archive that has already been edited, always conceptually and sometimes literally. This extensive use of home movies—home videos would be the more accurate term in most recent cases—signals a shift in recent documentary production, one that compels us to consider the implications of using home videos as narrational and illustrative tools, as conduits to history and memory. The representational and ethical ramifications of this recent spate of documentaries that rely on home video have yet to be assessed. What follows considers these issues by focusing on the current generation of obsessive self-documentarians and the 35mm, featurelength, theatrically released documentary films that have been made, at least partly, out of their autobiographical video records. A close but selective engagement with the aforementioned early-twenty-first-century films will aid in our S Familial Pursuits, Editorial Acts:}, number={1}, journal={The Velvet Light Trap}, publisher={Project Muse}, author={Orgeron, Marsha. and Orgeron, Devin.}, year={2007}, pages={47–62} }
 @inbook{orgeron_orgeron_2007, title={Megatronic memories: Errol Morris and the aesthetics of observation}, ISBN={1905674198}, booktitle={The image and the witness}, publisher={Wallflower Press}, author={Orgeron, D. A. and Orgeron, M.}, editor={F. Guerin and Hallas, R.Editors}, year={2007}, pages={238–252} }
 @article{orgeron_2007, title={‘The Most Profound Shock’: Traces of the Holocaust in Sam Fuller's Verboten! (1959) and the Big Red One (1980)}, volume={27}, ISSN={0143-9685 1465-3451}, url={http://dx.doi.org/10.1080/01439680701552547}, DOI={10.1080/01439680701552547}, abstractNote={It is widely known that film-maker Sam Fuller soldiered during World War II, and that his experiences as a member of the First United States Infantry Division greatly influenced the subject matter,...}, number={4}, journal={Historical Journal of Film, Radio and Television}, publisher={Informa UK Limited}, author={Orgeron, Marsha}, year={2007}, month={Oct}, pages={471–496} }
 @article{orgeron_2006, title={LIBERATING IMAGES? Samuel Fuller's Film of Falkenau Concentration Camp}, volume={60}, ISSN={0015-1386 1533-8630}, url={http://dx.doi.org/10.1525/fq.2006.60.2.38}, DOI={10.1525/fq.2006.60.2.38}, abstractNote={ABSTRACT This article examines a neglected but important film from Samuel Fuller9s formative years: the 16mm footage he shot in 1945, depicting a funeral ritual following his infantry division9s liberation of Falkenau concentration camp. The footage provides a fascinating glimpse into the director9s past and into World War II history.}, number={2}, journal={Film Quarterly}, publisher={University of California Press}, author={Orgeron, Marsha}, year={2006}, pages={38–47} }
 @article{orgeron_2003, title={Making It in Hollywood: Clara Bow, Fandom, and Consumer Culture}, volume={42}, ISSN={1527-2087}, url={http://dx.doi.org/10.1353/cj.2003.0020}, DOI={10.1353/cj.2003.0020}, abstractNote={Fan magazines had a dramatic impact on actress Clara Bow's career and on female fandom more generally. This article examines Bow's 1927 star vehicle It as a parable for fan culture, particularly for the ways that fan magazines constructed their female readers and Hollywood films addressed their female spectators.}, number={4}, journal={Cinema Journal}, publisher={Project Muse}, author={Orgeron, Marsha}, year={2003}, pages={76–97} }
 @article{orgeron_2003, title={Rethinking Authorship: Jack London and the Motion Picture Industry}, volume={75}, ISSN={0002-9831 1527-2117}, url={http://dx.doi.org/10.1215/00029831-75-1-91}, DOI={10.1215/00029831-75-1-91}, abstractNote={In the middle of June 1913, a person in New York City who wanted to see a moving picture ‘‘installation’’ or ‘‘exhibit,’’ as they were often called, would have had several choices: the eightreel Italian spectacle Quo Vadis at the Astor Theatre, Thomas Ince’s five-reel The Battle of Gettysburg at the Grand Opera House, Captain Scott’s South Pole pictures at the Lyric, or Jack London’s Adventures in the South Sea Islands at the Criterion, a Broadway playhouse.1 A person who chose the Criterion for one of its twice daily screenings of the London film would have seen, as the title promises, exotic views of the South Sea Islands while listening to Martin Johnson, who accompanied London on his journey and was credited with making the film, provide a lecture describing the images. Press accounts of the day indicate that seeing the film would have been an exciting, worthwhile experience, despite the fact that London, whose name was a valuable commodity by 1913, appears to have played no significant part in the final product. One advertisement’s detailed synopsis of the film, for example, implies London’s on-screen presence only once; moreover, Johnson appears to have taken most of his footage after London and his wife, Charmian London, had returned home.2 Although the public’s desire to see London at work, both as author and American adventurer, had intensified over the course of the early 1900s, his absence from the film was surprisingly not an issue in the press coverage, which failed to mention it at all. In fact, reporters seemed most impressed by the film’s realism and its uncanny verification of the unfamiliar rituals of the ‘‘noncivilized’’ world. On 16 June 1913, the Morning Telegraph reported that viewers}, number={1}, journal={American Literature}, publisher={Duke University Press}, author={Orgeron, Marsha}, year={2003}, month={Mar}, pages={91–117} }
 @article{orgeron_orgeron_2001, title={Eating their words: consuming class a la Keaton and Chaplin}, journal={College Literature}, author={Orgeron, D. A. and Orgeron, M.}, year={2001}, pages={84–104} }
 @article{orgeron_orgeron_2000, title={Interventions: an interview with Isaac Julien}, volume={9}, number={10}, journal={Coil}, author={Orgeron, D. A. and Orgeron, M.}, year={2000} }