I study how post-theatrical distribution changes our perceptions of cinema and the politics and aesthetics of motion pictures.  Since 1986, most Americans have seen most of their “films” on video, so home video technologies ought to dominate spectatorship theory as they do spectatorship itself.  But instead, a nostalgia for cinematic projection continues to overdetermine film studies.  My work applies key texts from 1970s screen and apparatus theory, as well as contemporary feminist and queer cultural studies, to the movies of the home video era in order to unpack video’s effects on both the North American film industries and their spectators.  Through close readings of the platforms (especially VCRs), individual movies (like Grindhouse), and contemporary auteurs—particularly David Cronenberg and George Romero—my book-length manuscript explores how video exhibition produces novel spectatorial positions that contest the psychoanalytic and antimaterialist models institutionalized by film and new media studies.  In so doing, it uses textual analysis to examine how new media advance the US film industry’s cultural imperialism and consolidate its interpellation of US spectators into new modes of visual pleasure.In addition to my work on consumer electronics and spectatorship theory, I also write about cultural receptions of queer film and video.  I’m interested in how images of queerness get manipulated to serve larger hegemonic projects and how they recycle and comment on US political history.  In this regard, I focus on cinematic depictions of same-sex sexuality and non-normative gender identities in “post”-AIDS American film production.