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Women, Gender and Romantic Comedy in BrazilLove on the High Seas in Meu pasado me condena (2013) and S.O.S. mulheres ao mar (2014)
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Spring 2017, Vol. 3 No. 2, (pp. 98-120) DOI: 10.1525/fmh.2017.3.2.98
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[Re]Activating Mamá Pina's Cookbook http://www.criticalmediartstudio.com/RemediatingMamaPina/
Gabriela Aceves Sepúlveda

Summer 2017, Vol. 3 No. 3, (pp. 159-166) DOI: 10.1525/fmh.2017.3.3.159
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Figuring the Population ExplosionDemography in the Mid-Twentieth Century
Carole R. McCann

Summer 2017, Vol. 3 No. 3, (pp. 30-56) DOI: 10.1525/fmh.2017.3.3.30
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Editor's IntroductionToward a Feminist Politics of Comedy and History
Maggie Hennefeld

Spring 2017, Vol. 3 No. 2, (pp. 1-14) DOI: 10.1525/fmh.2017.3.2.1
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Editors' IntroductionWomen and Soundwork
Kate Lacey, Michele Hilmes

Fall 2015, Vol. 1 No. 4, (pp. 1-4) DOI: 10.1525/fmh.2015.1.4.1
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Architectures of ExchangeFeminism, Public Space, and the Politics of Vulnerability
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Summer 2015, Vol. 1 No. 3, (pp. 66-94) DOI: 10.1525/fmh.2015.1.3.66
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The Datalogical Drug Mule
Juan Llamas-Rodriguez

Summer 2017, Vol. 3 No. 3, (pp. 9-29) DOI: 10.1525/fmh.2017.3.3.9
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Screen TestCelebrity, the Starlet, and the Movie World in Silent American Cinema
Lucy Fischer

Fall 2016, Vol. 2 No. 4, (pp. 15-63) DOI: 10.1525/fmh.2016.2.4.15
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In Defense of VoicelessnessThe Matter of the Voice and the Films of Leslie Thornton
Pooja Rangan

Summer 2015, Vol. 1 No. 3, (pp. 95-126) DOI: 10.1525/fmh.2015.1.3.95
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Mary Hallock-Greenewalt's Spectral Middle EastAutobiographical Orientations and Reflexive Mediations
Anne Ciecko

Winter 2017, Vol. 3 No. 1, (pp. 25-49) DOI: 10.1525/fmh.2017.3.1.25

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