| The “smart” body politics of Lena Dunham’s Girls J Ford Feminist Media Studies 16 (6), 1029-1042, 2016 | 34 | 2016 |
| At the fringes of TV: Liminality and privilege in Netflix’s original scripted dramedy series J Ford Netflix at the Nexus: Content, Practice, and Production in the Age of …, 2019 | 33* | 2019 |
| Women’s indie television: The intimate feminism of women-centric dramedies J Ford Independent Women: From Film to Television, 2021 | 21 | 2021 |
| The musical number as feminist intervention in Crazy Ex-Girlfriend J Ford, P Macrossan Australasian Journal of Popular Culture 8 (1), 55-69, 2019 | 14 | 2019 |
| The Emotional Detective: Gender, Violence and the Post-forensic TV Crime Drama J Ford, A Boyle MAI: Feminism and Visual Culture 7, 2021 | 8 | 2021 |
| Feminist cinematic television: Authorship, aesthetics and gender in Pamela Adlon’s Better Things J Ford fusion journal 14, 16-29, 2018 | 8 | 2018 |
| Rebooting Roseanne: Feminist Voice across Decades J Ford M/C Journal 21 (5), 2018 | 7 | 2018 |
| Can prison be a feminist space?: Interrogating television representations of women’s prisons J Ford The Palgrave handbook of incarceration in popular culture, 613-626, 2020 | 6 | 2020 |
| Coming out of the broom closet: Willow’s sexuality and empowerment in Buffy J Ford Joss Whedon: The Complete Companion, 94-102, 2012 | 5 | 2012 |
| Popular feminism and television stardom in Hallmark’s original made-for-television movies J Ford The Hallmark Channel: Essays on Faith, Race and Feminism, 32-49, 2020 | 4* | 2020 |
| What ongoing staff can do to support precariously employed colleagues J Ford, J Ison, L McKenzie, F Cannizzo, LR Mayhew, N Osborne, B Cooke Australian Universities' Review, The 62 (1), 57-62, 2020 | 4 | 2020 |
| You Can’t Go Home Again: The Recuperative Reboot and the Trump Era Sitcom J Ford, M Zeller-Jacques American Television During a Television Presidency, 275-290, 2022 | 3* | 2022 |
| The Quiet Violence of Denying Queerness in the Novel and Film, The Miseducation of Cameron Post J Ford, A Herb Gay Conversion Practices in Memoir, Film and Fiction: Stories of Repentance …, 2024 | 1 | 2024 |
| Friday Essay: Clueless at 25-like, a totally important teen film P Macrossan, J Ford The Conversation, 2020 | 1 | 2020 |
| The Netflix Effect: Technology and Entertainment in the 21st Century, Kevin McDonald and Daniel Smith-Rowsey (eds) (2016) J Ford Journal of Digital Media & Policy 10 (1), 127-129, 2019 | 1 | 2019 |
| The Myth of Feminist Perfection: The Capitalism of International Women’s Day J Ford IAI, 2024 | | 2024 |
| Black comedy, political drama and a documentary about a cult: what we're streaming this February A Rutherford, D Altman, E Harrignton, J Ford, M Deller, P Hart The Conversation, 2024 | | 2024 |
| Televisual authorship and the affective feminism of HBO’s Sharp Objects adaptation J Ford New Review of Film and Television Studies 22 (1), 277-295, 2024 | | 2024 |
| ‘Searing glory holes’, a shapeshifting cat and outback UFO tours: what we’re streaming this April D Altman, J Ford, K McWilliam, P Hart, S Gaunson, S Richards The Conversation, 2024 | | 2024 |
| Doing film feminisms in the age of popular feminism: a roundtable convened by Claire Perkins and Jodi Brooks C Perkins, J Brooks, J Loreck, P Tan, J Ford, RJ Sheehan Australian Feminist Studies, 1-17, 2023 | | 2023 |
Phoebe MacrossanUniversity of the Sunshine Coast在 usc.edu.au 的电子邮件经过验证
Phoebe MacrossanUniversity of the Sunshine Coast在 usc.edu.au 的电子邮件经过验证
JODI BROOKSSchool of the Arts & Media, University of New South Wales在 unsw.edu.au 的电子邮件经过验证