| 2010 | Girlshine: The Films of Jane Campion (2010) | | |
| 2010 | Mediations: Working Papers on Media and Practice | | |
| 2010 | Our father who wasn't there | | |
| 2010 | Poetic witnessing in the archive: The database narrative of Life after Wartime | | |
| 2010 | The City | | |
| 2010 | Un/Wrapping Shibuya: Place, Media and Punctualisation | | |
| 2009 - continuing | Featuring Sound | | |
| 2009 | 'Poetry in Motion: the short film form in Australia' | | |
| 2009 | Being in Two Places at the Same Time: The Forgotten Geography of Back Projection | | |
| 2009 | Beyond Telling: in making stories of traumatic memory | | |
| 2009 | Bogota Colombia: interactive online documentary | | |
| 2009 | Cinéphiles And True Believers: The AFI In The 1950s And 60s | | |
| 2009 | Do You Mind If I Invent You; Ethical Questions in Writing Creative Non-fiction | | |
| 2009 | Fishing from the Same Stream: The New Iranian cinema, Close-Up and the “film-on-film” genre | | |
| 2009 | How Do You Solve a 'Problem' Like Maria von Poppins? | | |
| 2009 | How to Escape the Dialectic, or, The Cinematographic Illusion of Philosophy | | |
| 2009 | It’s not the medium, it’s how (when, where) you use it (working title) | | |
| 2009 | Learning space(s) | | |
| 2009 | Locating the Sydney-Melbourne Imaginary: Literary Celebrities as Agents of Place Comparison in the 19th Century | | |
| 2009 | Media education and new technology | | |
| 2009 | Not quite convergence | | |
| 2009 | Paisà | | |
| 2009 | Phones and trains: How to subvert industrial time | | |
| 2009 | Postfeminism and Postmodern Feminism in Contemporary Film and TV | | |
| 2009 | Quality/Control: A labelling system for community media | | |
| 2009 | Radio Online | | |
| 2009 | Red Right Hand: Nick Cave and the Cinema | | |
| 2009 | She Would Say That, He's From Melbourne: Fun and Games with Dame Edna and Barry Humphries | | |
| 2009 | Shining A Light ~ 50 Years of the AFI | | |
| 2009 | Shooting the President: Bruce Conner’s Report | | |
| 2009 | Songs of Air | | |
| 2009 | The Anonymous Actor | | |
| 2009 | The ASPERA Peer Review Process | | |
| 2009 | The Death Mook | | |
| 2008-2011 | Geoplaced Knowledge | | |
| 2008-2010 (ongoing) | PhD in progress: "Deleuze, Cinema and the Thought of the World" | | |
| 2008 2009 | Agency Time | | |
| 2008 - continuing | Glasshouse Birdman: Videodefunct | | |
| 2008 - continuing | Locative Painting: Eugene Von Guerard in the Corangamite Shire | | |
| 2008 - continuing | Video Vortex (conference series) | | |
| 2008 - 2009 | Daddy Darling | | |
| 2008 - 2009 | Spiral | | |
| 2008 - 2009 | The Body Corporate | | |
| 2008 - 2009 | The Papin Sisters | | |
| 2008 - 2009 | The Really Strange and the Strangely Real: Aileen Wuornos and her representation on film | | |
| 2008 | “I am big. It’s the pictures that got small”: The Cinema Goes to the Movies | | |
| 2008 | "I'm Gone" | | |
| 2008 | 'Left to our own devices' | | |
| 2008 | 36 Views of Shibuya (An Atlas of Desire) | | |
| 2008 | A Good Take | | |
| 2008 | A women’s story led recovery of the Australian film industry | | |
| 2008 | ALTC Citation | | |
| 2008 | Circus Oz, Living Archive | | |
| 2008 | Digital Learning Communities | | |
| 2008 | Ed Pool Development Project | | |
| 2008 | Encouraging Critical Practice in Media Students: the Digital Dossier Initiative | | |
| 2008 | Encouraging Critical Practice in Media Students: the Digital Dossier Initiative | | |
| 2008 | Everyday Cinema | | |
| 2008 | Figuring Memory through the Database Narrative | | |
| 2008 | Filmmaking Under The Influence | | |
| 2008 | Geo-Placed Knowledge: Developing a Methodology | | |
| 2008 | Horizon.au | | |
| 2008 | How To Change The World | | |
| 2008 | Locative systems using mobile phones | | |
| 2008 | My street, past, present and future | | |
| 2008 | Notes Towards Affect Engines | | |
| 2008 | Programmatic Statements for a Facetted Videography | | |
| 2008 | RMIT Teaching Award, 2008 - Humanities and the Arts (including Design) | | |
| 2008 | Screen Culture | | |
| 2008 | Skipping | | |
| 2008 | Softvideography: Digital Video as Postliterate Practice | | |
| 2008 | something rotten | | |
| 2008 | the problem of novelty | | |
| 2008 | The Screening (or not) of Memory Cages | | |
| 2008 | Tokyo, the global movie | | |
| 2008 | Videodefunct and Showinabox: Hitting vlogging with a hammer | | |
| 2008 | Videodefunct: Online video is not dead | | |
| 2008 | Videodefunct: X-Media Lab | | |
| 2008 | Virtual Actual: Hypertext as Material Writing | | |
| 2008 | Virtual, Actual, Vector & Intensity | | |
| 2008 | Webbed Video (If it Quacks Like a Duck is it a Duck?) | | |
| 2008 | what POOL groups want | | |
| 2008 | ‘You Press the Button, We Do the Rest’: Some Thoughts on Péter Forgács’ The Land of Nothing | | |
| 2007-2009 | Videodefunct web system | | |
| 2007 - continuing | PiM wiki | | |
| 2007 | a fictocritical lecture | | |
| 2007 | Centring the female: the articulation of female experience in the films of Jane Campion. | | |
| 2007 | Network Literacy: The New Path to Knowledge | | |
| 2007 | New Media, Networks and New Pedagogies | | |
| 2007 | Patterns of Production: The Australian Film Industry in the 1990s | | |
| 2007 | Soft Rhizomes 2: A Softvideographic Essay | | |
| 2007 | Soft Rhizomes 2: A Softvideographic Video Essay | | |
| 2007 | Telling Tales | | |
| 2007 | That Moment Might Do | | |
| 2007 | The Cultural ‘Traumascape’:Look Both Ways, Railways Accidents and Trauma | | |
| 2007 | The placeless place of white Australian panic | | |
| 2007 | The Rules of the Game: Jafar Panahi’s Offside | | |
| 2007 | Videodefunct - Pedestrian | | |
| 2007 | “Nostalgia for places one has never seen”: Rouben Mamoulian and the Cinema. | | |
| 2007 | “They’re a Weird Mob” | | |
| 2006 | A Vision For Genuine Rich Media Blogging | | |
| 2006 | Anne and Richard | | |
| 2006 | Blogs and Documentary | | |
| 2006 | Blogs in Media Education | | |
| 2006 | Domesticating the Archive: The Australian Home Movie | | |
| 2006 | In Search of the Good Stuff: Pure Shit | | |
| 2006 | Media Education & New Technology | | |
| 2006 | Memory Cages | | |
| 2006 | Memory Cages | | |
| 2006 | Net-vlog: What is a networked videoblog? | | |
| 2006 | Situating Machinima in the New Mediascape | | |
| 2006 | Un/Wrapping Shibuya: The Changing Texture of Place | | |
| 2006 | “Trash and Treasure: The Global Art of Found Footage Cinema.” | | |
| 2005 | Arrested Developments or From The Heroes are Tired to The Tomb of Liegia: Some Notes on the Melbourne University Film Society in | | |
| 2005 | Ending With Andre | | |
| 2005 | Fascism, Irrationalism and Creative Evolution, or, Deleuze, Running Away | | |
| 2005 | Fishing in the Same Stream’: New Iranian Cinema and the “film-on-film | | |
| 2005 | It Can Happen Here! The World of Bob Clampett | | |
| 2005 | Nodal Dialectics 1.0 | | |
| 2005 | Refining the ‘Long-eared Galoot | | |
| 2005 | The Hazzards | | |
| 2004 | Bogarting the Joint: Ways of Reading Howard Hawks’ The Big Sleep | | |
| 2004 | concatenation | | |
| 2004 | Introducing the Nation: Title Sequences in Australian Cinema from 1930-1970 | | |
| 2004 | Memory Cages | | |
| 2004 | Proceedings of the Passionate City Symposium | | |
| 2004 | semtexts | | |
| 2004 | ‘When you reach Kyoto’ | | |
| 2004 | ’I knew I should’ve taken that left turn at Albuquerque’: The Warner Brothers Cartoon Down Under | | |
| 2004 | ’Something To Do With The War’ – Trauma’s Afterlife’ | | |
| 2003 | Bilder der welt und inschrift des krieges | | |
| 2003 | Birth of a Film Festival | | |
| 2003 | Come Towards the Light: The Films of Victor Erice | | |
| 2003 | Huffing and Puffing about Three Little Pigs | | |
| 2003 | Is your journey really necessary?” Chuck Jones’ Spies and the Private Snafu series | | |
| 2003 | On the Street Where You Live: The Films of John Smith | | |
| 2003 | Softvideography | | |
| 2003 | Womenvision: Women and the Moving Image in Australia | | |
| 2002 | Photographs in Haunted Rooms: The Found Home Experimental Film and Merilee Bennett’s A Song of Air | | |
| 2002 | The House that Mohsen Built: The Films of Samira Makhmalbaf and Marzieh Meshkini. | | |
| 2002 | The Tailor, the Filmmaker and the Cop | | |
| 2002 | Together Alone: The Outsider Cinema of Jean-Pierre Melville | | |
| 2002 | Videoécriture: interactive video vernaculars | | |
| 2001 - continuing | Radio Production | | |
| 2001 | Hypertext Structure as the Event of Connection | | |
| 2001 | Hypertext Syntagmas: Cinematic Narration with Links | | |
| 2001 | Out of Our Minds | | |
| 2001 | To Become Immortal and then Die: The Representation of Home Photographic Materials in the Cinema | | |
| 2000 - continuing | Vlog 4.0 (A Blog About Vogs) | | |
| 2000 | An analysis of Nice Coloured Girls (Tracey Moffatt, 1987) | | |
| 2000 | Monterey Pop | | |
| 2000 | Review of 'Twin Peeks: Australian and New Zealand Feature Films' | | |
| 2000 | Romance, Fantasy, and Female Sexuality in 'Feeling Sexy' | | |
| 2000 | The Chant of Jimmy Blacksmith | | |
| 2000 | The Hunter gets Captured by the Game: Robert Aldrich’s Hollywood | | |
| 1999 | Cinematic Paradigms for Hypertext | | |
| 1999 | Don’t Rain on Ava Gardner Parade | | |
| 1999 | Raising the Stakes | | |
| 1998 | 'The Sheltering Sky' and the Sorrow of Memory: Looking at Bertolucci through Delueze | | |
| 1998 | Return of the Seldom Repressed: (Re)-Mastering Hitchcock’s Vertigo | | |
| 1998 | Singin' in the Rain A Hypertextual Reading | | |
| 1998 | The Word Made Flesh: Viscerality and Textuality in David Fincher’s SEVEN | | |
| 1998 | Trapped in a WWWeb of Deceit | | |
| 1996 | Camping Outback: Landscape, Masculinity and Performance in THE ADVENTURES OF PRISCILLA, QUEEN OF THE DESERT | | |
| 1995 | Do Contemporary Australian Women Filmmakers Share A Feminist Perspective In Their Work? | | |