| The “smart” body politics of Lena Dunham’s Girls J Ford Feminist Media Studies 16 (6), 1029-1042, 2016 | 35 | 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 | 25* | 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 | 12 | 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 |
| Rebooting Roseanne: Feminist Voice across Decades J Ford M/C Journal 21 (5), 2018 | 8 | 2018 |
| Feminist cinematic television: Authorship, aesthetics and gender in Pamela Adlon’s Better Things J Ford fusion journal 14, 16-29, 2018 | 8 | 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 | 5 | 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 |
| 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 |
| 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 |
| 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 |
| Trying to fix TV’s past: Beyond the ‘woke’ reboot J Ford https://cstonline.net/trying-to-fix-tvs-past-beyond-the-woke-reboot-by …, 2023 | | 2023 |
| Gender, Violence and Empowerment: Reworking the Female Action Hero in Dollhouse J Ford Gender and Action Films, 47-57, 2022 | | 2022 |
| Duets and the Demands of Country Music: Contradictory Feminisms in Nashville. P Macrossan, J Ford Journal of Popular Culture 55 (2), 2022 | | 2022 |
| Editorial Introduction: Ryan Murphy: Genre, Gender and Authorship J Ford, M Robson, P Macrossan Refractory: a Journal of Entertainment Media 36, 2022 | | 2022 |
Phoebe MacrossanUniversity of the Sunshine CoastVerified email at usc.edu.au
