| Invisible Memories: Black Feminist Literature and Its Affective Flights JA Rogers Affect Theory and Literary Critical Practice: A Feel for the Text, 201-216, 2019 | 16 | 2019 |
| Diasporic Communion and Textual Exchange in Beyoncé's Lemonade and Julie Dash's Daughters of the Dust JA Rogers Black Camera 11 (2), 130-157, 2020 | 3 | 2020 |
| “Sometimes It Seems You’re in Another World” Afrocentric Feminisms of the LA Rebellion JA Rogers Camera Obscura: Feminism, Culture, and Media Studies 35 (2), 125-157, 2020 | 1 | 2020 |
| Organizing Precarious Labor in Film and Media Studies B Brasell, J Clark, B Corzo-Duchardt, RM Gordon, JA Rogers, S Shahaf Journal of Cinema and Media Studies 59 (4), 1-7, 2020 | 1 | 2020 |
| Julie Dash JA Rogers Contemporary Literary Criticism, 2023 | | 2023 |
| “Whiteness and the Absent-Presence of Race and Class in Sofia Coppola’s Feature Films” JA Rogers The Bloomsbury Handbook on Sofia Coppola. Ed. Suzanne Ferriss, 2023 | | 2023 |
| Affecting Geographies of Blackness and Non-representationality in Documentary Film [Hale County This Morning, This Evening and A Love Song for Latasha] JA Rogers The Projector: A Journal of Film, Media, and Culture 21 (2), 2021 | | 2021 |
| CRÓNICA CUBANA (CUBAN CHRONICLE) (1963); ¡MUERTE AL INVASOR! (DEATH TO THE INVADER) (1961); EL OTRO FRANCISCO (THE OTHER FRANCISCO) (1975) JA Rogers A Cuban Cinema Companion, 67-69; 218-220; 253-256, 2019 | | 2019 |
| After the Revolution: Memory, Absence, and Carrying on in Black Literature and Film of the Americas JA Rogers University of California, Irvine, 2018 | | 2018 |
