(R) “Of Bicycles and Films: The Case of CineCycle,” Public: Art/Culture/Ideas 40 (2010), 93-104.

 

(R) “The Value of the Parochial: Film and the Commonplace,” MediaTropes 2.1 (2009), 24-36.

 

(R) “McLuhan’s Pedagogical Art,” Flusser Studies 6 (2008), 1-13.

 

(R) “Manufacturing Humanism: Steichen/Burtynsky,” Prefix Photo 15 (2007), 54-67.

 

(R) with Susan Lord, “Translocal Connectivities and Citizenship Practices in the New Media Arts,” Public: Art/Culture/Ideas Digipopo 31 (2005): (DVD publication www.publicjournal.ca)

 

“A Tribute to Robin Wood,” CineAction 71 (Winter 2007), 29-30.

 

“Film Scenes: Paris, New York, Toronto,” Public: Art/Culture/Ideas 22 and 23 (2002), 58-75.

 

(R) “Sympathetic Understanding in Tu as crié Let Me Go,” Canadian Journal of Film Studies 10.2 (2001), 21-35.

 

(R) With Haidee Wasson, “Eyewitness History: New Technologies and the Production of Visual Evidence,” Convergence (Fall 1998), 17-23.

 

“The Women’s Liberation Front of Quebec,” Public: Art/Culture/Ideas 14 (1996), 36-48.

 

“David Suzuki’s The Secret of Life: Informatics and the Popular Discourse of the Life Code,” New Formations 19 (1996), 120-29.

 

(R) “Reflections on the Dispossessed: Video and the ‘Challenge for Change’ Experiment,” Screen (Oxford) 36 (Summer 1995), 131-46.

 

“On Hannah Arendt: Thinking In My Identity Where Actually I Am Not,” Public 12 (1995), 14-27.

 

“Imagining the New Information Order: ‘You Will,’” CineAction 33 (1994), 53-57.

 

“The Naked Eye Redressed: Invisibility and Redemption,” Public Art/Culture/Ideas 7 (1993), 21-37.

 

“Incorporating the Gaze: Interactive Video and Other Death Drives,” Parachute 65 (Winter 1992), 23-28.

 

“Feminist Art and the Politics of Authorship,” Open Letter (Eighth Series) 4 (1992), 82-90.

 

“Reach Out and Touch Someone: Interactive Reality at the End of History,” M5V 2 (Winter 1991/1992), 18-24.

 

“Feminist Avant-Garde Cinema: From Introspection to Retrospection,” CineAction 24 and 25 (1991), 30-37.

 

“Is the Dead Author a Woman? Some Thoughts on Female Authorship,” Parallelogramme 15.4 (February 1990), 10-19.

 

“Writing Feminist Histories: ‘The Burning Times’ and ‘The Company of Strangers,’” CineAction 23 (1990), 70-73.

 

“An Erotics of Space: The Cinematic Apparatus in the Aura of Science,” Public Art/Culture/Ideas 2 (1989), 87-98.

 

“‘Les matins infidèles’: Patriarchy and Photography,” CineAction 18 (1989), 69-71.

 

“The Critic’s Choice: Things Great and Not So Great,” CineAction 15 (1988), 8-12.

 

“Your Life is a Film,” CineAction 12 (1988), 39-43.

 

“In Search of It All,” CineAction 10 (1987), 6-11.

 

With Marc Lewis and Andrew Payne. “Public Imaginary,” Parachute 48 (Fall 1987), 21-25.

 

“Sans Soleil,” CineAction 5 (1986), 2-6.

 

“Poo-pooing the Phallus: Karen Finlay’s Performance Art,” Border/lines 5 (1986), 23-25.

 

“Inventing Paradox: Celine and Julie Go Boating,” CineAction 3 and 4 (1986), 84-90.