Books / chapters / journal articles

•     'Start Here: Sounding the Materiality of the Compact Audio Cassette', Resonance: The Journal of Sound and Culture of British Cinema and Television, Volume 2 No. 2 (2021), pp. 192-217.

•     'Jack Ellitt as Director: Documentary Films of the 1940s', Journal of British Cinema and Television, Volume 18 No. 3 (2021), pp.329-359.

•     'Material Resistance: Towards a Politics of Listening', Echo, Iss. 1 (2020).

•     with Chiu Kuei-fen: 'Le Moulin: Audiovisual Non-Synchronization and the Making of a Historical Documentary', in Paul G. Pickowicz and Yingjin Zhang (eds.) Locating Taiwan Cinema in the Twenty-First Century (Amherst, N.Y.: Cambria Press, 2020).

•     with Gebhard Sengmüller: 'Big Paul: The Death of Video and the Return of the Repressed', in Edgar Lissel, Gabriele Jutz and Nina Jukić (eds.) Reset the Apparatus! A Survey of the Photographic and the Filmic in Contemporary Art (Berlin and Boston: de Gruyter, 2019), pp. 91-104.

•     'Noise, Agency, and the Sound of Obsolete Technology', FKW // Zeitschrift für Geschlechterforschung und visuelle Kultur,  Nr. 61 Dated Formats Now! (2017).

•     'Meaning and Musicality:Souund-Image Relations in the Films of John Smith', in Holly Rogers and Jeremy Barham (eds.), The Music and Sound of Experimental Film (New York: Oxford University Press, 2017), pp. 167-183.

     Start Here; the Art of the Audio Cassette (Canterbury: Start Here, 2017).

•     ‘Electroacoustic Composition and the British Documentary Tradition’, in Liz Greene & Danijela Kulezic-Wilson (eds.), Palgrave Handbook of Sound Design and Music in Screen Media: Integrated Soundtracks (Basingstoke: Palgrave Macmillan,  2016).

•     'Photographic Sound Art and the Silent Modernity of Walter Ruttman's Weekend (1930)', The New Soundtrack, Volume 6 Issue 2 (2016), pp. 109-127.

•     ‘Heavy Weather: Michelangelo Antonioni, Tsai Ming-liang, and The Poetics of Environmental Sound’, Quarterly Review of Film and Video, Volume 32 Issue 1 (2015), pp. 72-90.

•     'Douglas Gordon and Cinematic Audiovisuality in the Age of Television: Experiencing the Experience of Cinema:’, Visual Culture in Britain, Volume 13, Issue 1 (2012), pp. 101-113.

•     ‘White Noise: the representation of modernity in the films of Pai Ching-jui’, in: Bi-yu Chang and Henning Klöter (eds.), Imaging and Imagining Taiwan: Identity Representation and Cultural Politics, Studia Formosiana Volume 8 (Wiesbaden: Harrassowitz Verlag, 2012), pp.69-89.

•     Cinesonica: Sounding film and video (Manchester: Manchester University Press, 2010).

> read Journal of Sonic Studies review

> read Jump Cut review

•     ‘Marking time and sounding difference: Brubeck, temporality and modernity’, Popular Music, Volume 29 Issue 3 (2010), pp. 351-371.

>  full text pdf  © Cambridge University Press.

•     ‘Harbouring History: Stella Polare and the Sound of a Place’, Vertigo, Volume 3 Number 5 (2007), p.31.

Catalogues / reviews / dictionary entries

•     ‘Listen’. John Smith, exhibition catalogue, 16 January - 13 February 2013, Sidney Cooper Gallery, Canterbury.

•     Review: ‘James Tobias, Sync: Stylistics of Hieroglyphic Time.’ Screen, vol. 52, no. 4 Winter (2011), pp. 528-531.

•     Entries on ‘independent cinema’, ‘mode of production’, ‘text’ and ‘real-time’ In: Critical Dictionary of

Film and TV Theory. 2000. Edited by R. Pearson & P. Simpson. London: Routledge.