deWaard, Andrew. “Wall Street’s Content Wars: Financing Media Consolidation,” in Content Wars: Tech Empires vs. Media Empires. Ed....
Financialized Hollywood: Institutional Investment, Venture Capital, and Private Equity in the Film and Television Industry
deWaard, Andrew. “Financialized Hollywood: Institutional Investment, Venture Capital, and Private Equity in the Film and Television Industry.” JCMS:...
The Cultural Capital Project: Digital Stewardship and Sustainable Monetization for Canadian Independent Musicians
Brian Fauteux (University of Alberta), Brianne Selman (University of Winnipeg), Ian Dahlman (Canadian Heritage) and I have recently...
Dissertation – “Derivative Media: The Financialization of Film, Television, and Popular Music, 2004-2016”
deWaard, Andrew. “Derivative Media: The Financialization of Film, Television, and Popular Music, 2004-2016.” University of California, Los Angeles....
Cinema Journal Teaching Dossier: ClipNotes in the Classroom
I’ve contributed an essay to Cinema Journal Teaching Dossier Vol 3.3: “DH and Media Studies Crossovers.” My article...
Oxford Bibliography: Steven Soderbergh
I’ve contributed an exhaustive, annotated bibliography on Steven Soderbergh for Oxford Bibliographies. Unfortunately it’s hidden behind a paywall...
Inertia: A Conference on Sound, Media, and the Digital Humanities
As coordinator of the Digital Humanities Working Group @ UCLA, I helped organize Inertia: A Conference on Sound,...
The Cinema of Steven Soderbergh
deWaard, Andrew and R. Colin Tait. The Cinema of Steven Soderbergh: indie sex, corporate lies and digital videotape. New...
The Cultural Capital Project
Cultural Capital is a collaborative research project between myself, Brian Fauteux (Media & Cultural Studies, University of Wisconsin-Madison) and...
ClipNotes
ClipNotes is a software program that uses XML mark-up of film to facilitate quick segmentation, annotation and presentation...
The Hood is Where the Heart is
deWaard, Andrew. “The Hood is Where the Heart is: Melodrama, Habitus, and the Hood Film.” Habitus of the Hood....
Intertextuality, Broken Mirrors, and The Good German
deWaard, Andrew. “Intertextuality, Broken Mirrors, and The Good German.” The Philosophy of Steven Soderbergh. Eds. Steven M. Sanders and...
Cinephile Vol. 7, No. 1: Reassessing Anime
The latest issue of UBC’s film journal, Cinephile, is out now: Anime is a visual enigma. Its otherworldly allure...
Cinephile Vol. 6, No. 2: Horror Ad Nauseam
The latest issue of UBC’s film journal, Cinephile, is out now: Horror cinema has always held a strange place...
French Minority Cinema
As assistant editor at Rodopi on the Contemporary Cinema series, I proof-read, copy-edit, and format, then do layout for print and design...
Cinephile Vol. 6, No. 1: Sound on Screen
The latest issue of UBC’s film journal, Cinephile, is out now: Even with a relatively innocuous theme such as...
Theorizing Bruce Lee:
Film–Fantasy–Fighting–Philosophy
As assistant editor at Rodopi on the Contemporary Cinema series, I play a considerable role in bringing books...
Cinephile Vol. 5, No. 2: The Scene
The latest issue of our film journal, Cinephile, is out now — the theme is ‘The Scene’. There...
The Museum: Textworks, Cultural Economy, and Polytextual Dispersion
deWaard, Andrew. The Museum: Textworks, Cultural Economy, and Polytextual Dispersion. MA Thesis, University of British Columbia, 2009. cIRcle:...
Cinephile Vol. 5, No 1:
Far From Hollywood, Alternative World Cinema
Cinephile has released its latest issue: ‘Far From Hollywood’ – Alternative World Cinema: …in this, our 5th anniversary...
Joints and Jams: Spike Lee as Sellebrity Auteur
deWaard, Andrew. “Joints and Jams: Spike Lee as Sellebrity Auteur.” Fight the Power!: The Spike Lee Reader. Eds....
Tom LeClair’s Passing Trilogy: Recovering Adventure in the Age of Post-Genre
Steffen Hantke has quoted me in his essay entitled Tom LeClair’s Passing Trilogy: Recovering Adventure in the Age...
Cinephile Vol. 4, No. 1: Post-Genre
Cinephile is the scholarly film journal published in print and online by the graduate students in Film Studies...
Back to Top