Will Straw
Professor of Urban Media Studies
Department of Art History and Communications Studies
McGill University

Twitter:       Follow @wstraw

Other sites:

The Urban Night


Photo-sequences in the true crime periodical
Lighting and Letters: Nightclub signs in 1940s Hollywood films
The photographs in Walter Winchell’s desk
The hyper-local gossip of Niagara Nite Life (1941)


Books authored
Cyanide and Sin New York: PPP Publications/Andrew Roth Gallery, 2006.  Download Cyanide and Sin — Introduction.

Volumes Edited

“Cars and Screens.” Special issue. Co-edited by Elizabeth Parke and Will Straw. Film Studies vol. 21, no. 1 (2019, published 2020)

Night Studies: Regards croisés sur les nouveaux visages de la nuit. Grenoble: Editions Elya, 2020. Edited by Luc Gwiazdzinski, Marco Maggioli and Will Straw.

Géographies de la nuit / Geographies of the night / Geografie della notte. Special issue of the Bollettino della Società Geografica italiana, Series 14 Vol 1 No 2 (2018).  Co-edited by Luc Gwiazdzinski, Marco Maggioli, Will Straw.

The Oxford Handbook of Canadian Cinema.  Co-edited with Janine Marchessault.  Oxford University Press, 2019.

“Nuits et montagnes/Nights and mountains”.  Special issue of the Journal of Alpine Research/Revue de géographie alpine.  Co-edited by Luc Gwiazdzinski and Will Straw.  Vol. 106, no. 1, 2018.

“I Wanna Be Your Punk: DIY e culturas underground/I Wanna Be Your Punk: DIY and underground cultures.”  Co-edited with Paula Guerra.  Special dossier, Cadernos de Arte y Antropologia, vol. 6, no. 1, 2017.

“The Visuality of Scenes.”  Co-edited with Nathalie Casemajor.  Special issue of Imaginations:  Journal of Cross-Cultural Image Studies.  No. 17.2, March, 2017.

“Night.”  Co-edited with Christie Pearson.  Special issue of Scapegoat:  Architecture, Landscape, Political Economy, no. 10, 2016.

Improvisation and Social Aesthetics.  Co-edited by Georgina Born, Eric Lewis and Will Straw.  Duke University Press, 2017. (Free download available with link.)

Habiter (la nuit)/Inhabiting (the night).   Issue of Intermédialités no. 26 (September, 2015; published 2016).  Co-edited with Luc Gwiazdzinski.

Poêtes et Poésies en voix au Québec (XXe – XXIe Siècles).  Special issue of Voix et images.  no. 119, Winter 2015. Co-edited with Pascal Brisette.

Formes urbaines:  circulation, stockage et transmission de l’expression culturelle à Montréal.  Co-edited by Will Straw, Anouk Bélanger and Annie Gérin.  Montreal:  Editions Esse, 2014.

Intersections of Media and Communications: Concepts and Critical Frameworks  . Co-edited by Will Straw, Sandra Gabriele and Ira Wagman. Toronto: Emond Montgomery Publications. 2011.

Aprehendiendo al delincuente:  Crimen y medios en América del norte.   C o-edited by Graciela Martinez-Zalce, Will Straw and Susana Vargas Mexico City: CISAN/UNAM and Media@McGill, 2011. [Epub download]

Bâtir/Build. Co-edited with James Cisneros. Special issue of Intermédialités, no. 14, 2010.

Circulation and the City: Essays on Urban Culture.  Co-edited with Alexandra Boutros. McGill-Queens University Press, 2010.

“Are We American?” Special dossier in Quebec Studies , vol. 48 (Fall 2009-Winter 2010), co-edited with Erin Hurley.

Global Cities/Local Sites  . Co-edited with Douglas Tallack. Melbourne: Melbourne University Publishing/Universitas 21, 2009. U21 Ebook.

Cultural Memory and Digital Preservation .”    Special issue, vol. 15, no. 3 (August, 2009) of  Convergence:  The International Journal of Research into New Media Technologies. Co-edited with Jessica Santone.

Dialogues théoriques sur la culture .”  Special issue, no. 47 (Winter, 2009) of Cahiers de recherche sociologique.   Co-edited with Anouk Belanger.

The Cambridge Companion to Rock and Pop. Co-edited by Simon Frith, Will Straw and John Street. Chinese translation, Taiwan: Cite Publishing, 2006. Korean translation, Seoul: Hannarae Publishing House, 2005. Spanish translation, Barcelona: Ediciones Robionbook, 2006.

Accounting for Culture: Thinking Through Cultural Citizenship . Co-edited with Caroline Andrew, Monica Gattinger and Sharon Jeannotte. Ottawa: University of Ottawa Press, 2005.  Entire book now available for free download.

Cities/Scenes.”  Special issue, no. 22/23 of Public.   Co-edited with Janine Marchessault. Toronto: Public Access/York University, 2002.

The Cambridge Companion to Rock and Pop. Co-edited by Simon Frith, Will Straw and John Street. Cambridge: Cambridge University Press, 2001.

Canadian Identity: Region/Country/Nation. Co-edited by Caroline Andrew, Will Straw and J.-Yvon Thériault. Montreal: The Association for Canadian Studies, 1998.

“Paraliterary Scandals in Canada.”   Special issue of Essays in Canadian Writing . No. 62. (Montreal: ECW Press, 1998).

Theory Rules: Art as Theory, Theory and Art. Toronto: University of Toronto Press/YYZ Artists Outlet: 1996. (With Jody Berland and Dave Tomas.)

Popular Music: Style and Identity. Montreal: The Centre for Research on Canadian Cultural Industries and Institutions/International Association for the Study of Popular Music, 1995. (With Stacey Johnson, Rebecca Sullivan and Paul Friedlander.)

“The Music Industry in a Changing World,” special issue of Cultural Studies, Vol. 5, No. 3 (London: Routledge, 1991), 137 pp.  (with John Shepherd).

Articles etc.

“Gathering up the social: Nightlife columns in the African-American press.” Ethnologies, vol. 44, no. 1, 2022.

“Urban Labor and the Cinematic Nocturne.” In Eria Stein, Germaine R. Halegoua and Brendan Kredell, eds. The Routledge Companion to Media and the City. Taylor & Francis, 2022, pp. 100-107.

“Secret Agents at Expo: The Case of Kommisar X.” In Craig Moyes and Steven Palmer, eds. Expo 67 and Its World: Staging the Nation in the Crucible of Globalization. McGill Queens University Press, 2022, 383-395.

Montreal, Funkytown: Two Decades of Disco History.” In Flora Pitrolo, Marko Zubak, eds. Global Dance Cultures in the 1970s and 1980s: Disco Heterotopias. Springer, 2022, pp. 29-49.

“Re-Thinking the Spaces of Night-time Sociabilty,in Irene Gammel and Jason Wang, eds. Creative Resilience and COVID-19, Taylor and Francis, 2022, pp. 166-174.

“Rhythmanalysis and Circulation,” in Geoff Stahl and Mark Perceval, eds., The Bloomsbury Handbook of Popular Music, Space and Place, 2022, pp 21-29.

“Montreal Bohemia and the Mile End Apartment Party Scene.” In Norbert Bachleitner and Juliane Werner, eds. Popular Music and the Poetics of Self in Fiction, Brill, 2021, pp. 121-137.

“The Pastness of Allô Police.” In Martha Langford and Johanne Sloan, eds. Photogenic Montreal: Activisms and Archives in a Post-Industrial Society, McGill Queens University Press, 2021, pp. 199-216.

Will Straw and Jess Reia, “Nightlife in a Pandemic,” in Pandemic Societies, eds. Jean-Louis Denis, Catherine Régis, and Daniel Weinstock (Montreal: McGill-Queen’s University Press, 2021), 9-20.

“Assemblages intermédiaux : papier, disque, film.” Communications & langages, no. 208-209 (2021), pp. 195-209. Translated by Marion Froger. [English language original]

“La noche urbana”. In Alejandro Mercado Celis and Edna Hernández González, eds. Noche urbana y economía nocturna en América del Norte. México: CISAN, UNAM, 2021. Translation of “The Urban Night.”

“Sin City: Montreal’s late, great mid-century journal of vice [on Police Journal].Canadian Notes & Queries, no. 109 (Spring/summer 2021).

Conclusion: Notes on Cities, Undergrounds and Closed Upper Rooms.” In Damien Charrieras and François Mouillot, eds., Fractured Scenes: Underground Music-Making in Hong Kong and East Asia, Springer, 2020, pp. 259-268.

Rivers, Gatherings, and Infrastructures.” In Kyle Devine and Alexandrine Boudreault-Fournier, eds. Audible Infrastructures: Music, Sound, Media. Oxford University Press, 2021.

Case Study: “Montréal: Towards a Comprehensive Nighttime Policy.” Co-written with Jess Reia. Global Nighttime Recovery Plan, Chapter 5: Nighttime Governance in Times of Covid-19,, April, 2021, pp. 16-19

 “Répondre à la dévastation de la vie nocturne causée par la pandémie de Covid-19”. Coronavirus, une conversation mondiale, FranceCulture, January 1, 2021.

An Urbanized Cultural Studies?” In Eric Maigret and Laurent Martin, eds., Les Cultural Studies: Au-delà des politiques des identités. Le Bord de l’Eau éditions, 2020, pp. 151-162.

Night Studies: Thinking Across Disciplines.” Voices of Mexico, no. 111 (Autumn, 2020). pp. 7-10.

Covid Nights.” Mediapolis: A Journal of Cities and Culture.  NO. 3, VOL. 5, August 24, 2020

“Global success, identitarian performance, and Canadian popular music.” In Kai Arne Hansen, Eirik Askerøi, and Freya Jarman, eds., Popular Music and Identity: Essays in Honour of Stan HawkinsLondon and New York: Routledge, 2020, pp. 133-147.

The emerging field of ‘Night Studies’: Steps towards a genealogy, co-authored by Will Straw, Luc Gwiazdzinski, Marco Maggioli. English version of Conclusion to Night Studies: Regards croisés sur les nouveaux visages de la nuit. Grenoble: Editions Elya, 2020, Luc Gwiazdzinski, Marco Maggioli, Will Straw, eds.

“Montreal’s Big Night: La nuit du 29 avril 1960.” CRIEM Blog, June 18, 2020.

“Why the pleasure and meaning of mingling in bars can’t be matched by a table for 2.” The Conversation, June 11, 2020

“Nightlife is the soul of cities — and ‘night mayors’ are its keepers in this coronavirus pandemic.”  The Conversation March 26, 2020

“Figures de la saturation urbaine.” In Manola Antonioli, Guillaume Drevon, Luc Gwiazdzinski, Vincent Kaufmann and Luca Pattaroni, eds.  SATURATIONS : Individus, collectifs, organisations et territoires à l’épreuve. Grenoble : Editions Elya, 2020.  English translation: Figures of Urban Saturation

“Night Matters – Why the Interdisciplinary Field of ‘Night Studies’ is Needed.”  Full citation: Kyba, C.C.; Pritchard, S.B.; Ekirch, A.R.; Eldridge, A.; Jechow, A.; Preiser, C.; Kunz, D.; Henckel, D.; Hölker, F.; Barentine, J.; Berge, J.; Meier, J.; Gwiazdzinski, L.; Spitschan, M.; Milan, M.; Bach, S.; Schroer, S.; Straw, W. Night Matters – Why the Interdisciplinary Field of “Night Studies” is Needed. Preprints 2019.

“El puesto de periódicos en la Estación Central de Montreal.” In Liliana Cortés Garzón Editora, ed., Arte y Arquitectura: Estéticas de la arquitectura, imagen y muralismo en la ciudad, Bogota, Colombia: Universidad Piloto, 2019, pp. 145-161. Translation of “Le kiosque à journaux de la gare centrale de Montréal.”

“Foules et scènes: figures cinématographiques de la collectivité.” In Sarah Leperchey and José Moure, eds., Filmer le quotidien.  Bruxelles: Impressions Nouvelles, 2019, pp. 157-168.

“Practicing Urban Media Studies: An Interview With Will Straw.” With Simone Tosoni and Seija Ridell.  International Journal of Communication 13 (2019), 5370–5385

The Ever-Changing Politics of the Night.  New Cities: The Big Picture.  September, 2019.

“La violencia y las humanidades.” In Diego Lizarazo Arias, José Alberto Sanchez Martinez and Antonio Sustaita, editors. Horrores estridentes: Arte, Violencia y Ruina Social. Mexico City: UAM/Gedisa, 2018, pp. 117-133.  English original, Violence and the Humanities

Luc Gwiazdzinski, Marco Maggioli and Will Straw.  “Géographies de la nuit / Geographies of the night / Geografie della notte: From geographical object to Night Studies.”  Bollettino della Società Geografica italiana, Series 14, Vol 1 No 2 (2018), 9-22.

“The face of the journal: Photojournalism and l’affaire Lindbergh.” COnTEXTES no. 24, 2019.

“Afterword”.  In Geoff Stahl and Giacomo Bottà, eds.  Nocturnes: Popular Music and the Night.  Palgrave, 2019, pp. 257-267.

Imaginaires et politiques de la nuit montréalaise.”  Observatoire des politiques culturelles no. 53 (Winter, 2019), pp. 29-32.

Quand le crime donne un visage au journal à sensation [text in English],in Amélie Chabrier and Marie-Eve Thérenty, edsDétective, histoire, imaginaire, médiapoétique d’un hebdomadaire de fait divers (1928-1940), Criminocorpus, 2018.

Visibility and Conviviality in Music Scenes.”  In Andy Bennett and Paula Guerra, editors, DIY Cultures and Underground Music Scenes, London and New York:  Routledge, 2018.

Of Night and Noise:  Music’s New Politics.”   Assemble Papers (Melbourne), October 5, 2018.

“Urbanização da política musical: cidades e a cultura da noite.”  In Cíntia Sanmartin Fernandes and Micael Herschmann, eds.  Cidades Musicais:  Comunicação, Territorialidade e Política.  Porto Alegre, Brazil:  Editora Sulina, 2018, pp. 319-340.  English language original here.

« Le clip vidéo et ses contextes : musiques populaires et postmodernité dans les années 1980 »  Translation of  ‘Music video in its contexts: popular music and post-modernism in the 1980s” (1988).  Translated by Jedediah Sklower.  Volume !, 14 : 2 | 2018, 21-40.

“« Le clip vidéo et ses contextes : 30 ans plus tard », Volume !, 14 : 2 | 2018, 187-192.

“Afterword: Night Mayors, Policy Mobilities and the Question fo Night’s End.” In Jordi Nofre and Adam Eldridge, eds., Exploring Nightlife:  Space, Society and GovernanceLondon:  Rowan and Littlefield, 2018,

“Nuits et montagnes:  Premières explorations d’une double frontère.”   “Nights and mountains:  Preliminary exploration of a double frontier.”  By Luc Gwiazdzinski and Will Straw.  In Nuits et Montagnes/Nights and Mountains.  Thematic issue of the Journal of Alpine Research/Revue de géographie alpine, vol. 106, no. 1 (2018).

« Introduction générale – Unité et division au sein des nuits urbaines. »  In Alain Montandon, Florian Guérin and Edna Hernandez Gonzalez, eds.  Cohabiter les nuits urbaines, Paris, l’Harmattan, 2018.  English original here.

“Cenas visíveis e invisíveis.”  Translation by Marcelo Bergamin Conter e Demétrio Rocha Pereira of “Above and below ground” (see below).  In Adriana Amaral, Ivan Bomfim, Marcelo Bergamin Conter, Gustavo Daudt Fischer, Michael N. Goddard e Fabricio Silveira, eds. Mapeando cenas da música pop: cidades, mediações e arquivos. João Pessoa, PB. Brasil:  Marca de Fantasia, 2017, pp. 70-84.

“The cultural baggage of the desert island.”  In Julie Brown, Nicholas Cook and Stephen Cottrell, eds., Defining the Discographic Self:  Desert Island Discs in Context.  Oxford and New York:  Oxford University Press and the British Academy, 2017, pp. 35-50.

“Cinematic topographies and the 24-hour cycle.” In Luc Gwiazdzinski, Guillaume Dervon and Olivier Klein, eds. CHRONOTOPICS Readings and Writings on a World in Movement. Grenoble: Editions Elya, 2017.

The dyssynchronies of Richard Quine.”  La Furia Umana, no. 32, 2017.

Circulation.”  In Imre Szeman, Sarah Blacker and Justin Sully, ed.  A Companion to Critical and Cultural Theory.  Hoboken, New Jersey:  Wiley, 2017, pp. 423-433.

“Preface.”  Ariane Holzback, A Invenção do Videoclipe: A História por Trás da Consolidação de um Gênero Audiovisual.  Curitiba, Brazil:  Appris editora, 2017.

“Networks in Canadian Cultural Analysis.”  In Graciela Martinez Zalce, Silvia Núñez García and Oliver Santín Peña, eds. Canadá en México: Reconsiderando la confianza. Mexico City:  UNAM/CISAN, 2017, pp. 107-123.

“Twists and Turns: Splits, Snowballs and Tweaks in Cultural Theory.”  Etopia  [Intersections | Cross-Sections 2016] Re: Turns, 2017.

Paula Guerra and Will Straw.  “I wanna be your punk: o universo de possíveis do punk, do D.I.Y. e das culturas underground.Cadernos de Arte y Antropologia, vol. 6, no. 1, 2017.

Nathalie Casemajor and Will Straw.  “The Visuality of Scenes:  Urban Cultures and Visual Screenscapes.”  Imaginations:  Journal of Cross-Cultural Image Studies.  No. 17.2, March, 2017. DOI 10.17742/IMAGE.VOS.7-2.1

“What is social aesthetics?” By  Georgina Born, Eric Lewis, Will Straw.  In Born, Lewis and Straw, eds. Improvisation and Social Aesthetics.  Durham, North Caroline:  Duke University Press, 2017, pp. 2-30.

The Sporting Pornographer. Media History, vol. 23, no. 17 (2017), pp. 4-27.

“Media Networks and Language-Crossing in Montreal.”  In Sherry Simon, ed., Speaking Memory:  How Translation Shapes City Life.  Montreal:  McGill-Queens University Press, 2016, pp. 153-168.

Introduction.” With Christie Pearson.  Scapegoat:  Architecture, Landscape, Political Economy, no. 10, 2016.

“Preface: Penser la vie urbaine.” In Luc Gwiazdzinski, La Nuit, Dernière frontière de la ville.  New edition.  Paris:  Rhuthmos, 2016, pp. 7-10.

Introduction:  Habiter (la nuit)/inhabiting (the night)Intermédialités no. 26 (September, 2015; published 2016).  Co-written with Luc Gwiazdzinski.

Some things a scene might be.”  In Benjamin Woo, Stuart Poyntz, Jamie Rennie, editors, Scene Thinking Cultural Studies from the Scenes Perspective.  London and New York:  Routledge, 2016.  Reprint.

Media and the Urban Night.”  Articulo – Journal of Urban Research, no 11 (2015, published 2016).

“Prefácio.”  Translated by Beatriz Polivanov.  In Simone Pereira de Sa, Beatriz Polivanov and Simone Evangelista, eds. Música, som e cultura digital.  Rio de Janeiro: e-papers, 2016, pp. 5-8.

“Interview with Guy Maddin.”  La Furia Umana,no. 28, 2016

“Scènes : Ouvertes et restreintes.”  Cahiers de recherche sociologique, no. 57 (Autumn, 2014), pp. 17-32.  English language original here.

“Constructing the Canadian Lowbrow Magazine:  The Periodical as Media Object in the 1930s and 1940s.” Journal of Modern Periodical Studies, vol. 6, no. 2 (2015), pp. 112-133.

“Productive Discomfort.”  In Florence-Agathe Dubé-Moreau and Julie Riendeau, eds. Questionner l’Avenir:  Réflexions sur la réactualisation de la Biennale de Montréal.  Montréal:  Editions d’art le Sabord, 2015, pp. 83-84.

“Mediality and the Music Chart.”  SubStance, Volume 44, Number 3, 2015 (Issue 138), pp. 128-138

“The Night in the Americas.”  L’Ena hors les murs:  Magazine des Anciens Elèves de l’ENA, no. 453, July-August, 2015, pp. 10-11.

“Squawkies.”  In Martin Arnold and Christof Migone, eds.  Volumes.  Mississauga, Canada:  Blackwell Gallery, in partnership with the University of Alberta, 2015, pp. 54-57.

“Above and below ground.”  In Paula Guerra and Tânia Moreira, eds.  Keep It Simple, Make It Fast:  An Approach to Underground Music Scenes, vol. 1.    Porto: Universidade do Porto – Faculdade de Letras, 2015, pp. 403-410.

“Chrono-Urbanism and Single-Night Narratives in Film.”  Film Studies, vol. 12, no 1 (Spring, 2015), pp. 46-56.

“Poêtes et Poésies en voix au Québec (XXe – XXIe Siècles).”  With Pascal Brisette.  Voix et images, no. 115 (Winter, 2015), pp. 7-13.

“Cinema Open and Closed.”  La Furia Umana, no. 8 (paper version), April, 2015.

“After the Event:  The Challenges of Crime Photography.”  In Jason E. Hill and Vanessa R. Schwartz, eds.  Getting the Picture:  The Visual Culture of the News.   London:  Bloomsbury, 2015, pp. 139-144.

“Place des Arts et la vie nocturne à Montréal.”  In Louise Poissant, ed. 50 Ans de la Place des Arts.  Montréal:  Presses de l’Université du Québec, 2015, pp. 115-130.

“Pulling Apart the Apparatus.”  Recherches sémiotiques / Semiotic Inquiry, vol. 31, 2011 [published 2015], p. 59-73.

“Night Scenes/Cenas de Noite.”  In Colaboratorio, Manfesto da noite/Night Manifesto, Sao Paulo, Brazil, 2014, pp. 104-113.

“Introduction: Formes urbaines; circulation stockage et transmission de l’expression culturelle à Montréal“.  Will Straw, Annie Gérin and Anouk Bélanger.  In Formes urbaines:  circulation, stockage et transmission de l’expression culturelle à Montréal.  Co-edited by Will Straw, Anouk Bélanger and Annie Gérin.  Montreal:  Editions Esse, 2014, pp. 8-12.

“Le kiosque à journaux de la gare centrale de Montréal.”  In Formes urbaines:  circulation, stockage et transmission de l’expression culturelle à Montréal.  Co-edited by Will Straw, Anouk Bélanger and Annie Gérin.  Montreal:  Editions Esse, 2014, pp. 160-169.

“How Montreal became Disco’s Second City.”  Redbull Music Academy, 2014.

Some things a scene might be.”  Cultural Studies, vol. 29, no. 3 (2014), pp. 476-485.

“Pulling back from apocalypse.”  Scapegoat,no. 6, “Mexico City DF/NAFTA,” 2014,  pp. 17-28.

“Chicago” (p. 83) and “Hairspray” (p. 99).  In Tom Ue, ed.  World Film Locations:  Toronto.  Bristol:  Intellect, 2014.

The Urban Night.”  In Michael Darroch et Janine Marchessault, editors.  Cartographies of Place :  Navigating the Urban.  Montreal : McGill-Queens University Press, 2014, pp. 185-200.

War and Peace.  Catalogue essay.  Michael Blum, “War and Peace.”  Vox Gallery, Montreal, January – February 2014.

A City of Sin No More”: Sanitizing Montreal in Print Culture, 1964–71. International Journal of Canadian Studies, no. 48 (2014), pp. 137-152.

“Les journaux et la vie urbaine.”  Médias 19, December, 2013.

“Cenas Culturais e as consequências imprevistas das políticas públicas” in Jeder Janotti, Jr. and Simone Pereira de Sá, editors. Cenas Musicais.   São Paulo, Brazil :  Editora Anadarco, 2013.

“Public Screens and Urban Life.”  In Carol Vernallis, Amy Herzog, and John Richardson, eds., The Oxford Handbook of Sound and Image in Digital Media.  London and New York:  Oxford University Press, 2013, pp. 92-98

Introduction to the reissue of Al Palmer, Sugar-Puss on Dorchester Street [1950].  Montreal:  Véhicule Press, 2013.

“Action Classics”:  Ways of thinking about the budget DVD corpus.”  In  André Habib and Michel Marie, editors.  L’Avenir de la mémoire : patrimoine, restauration et réemploi cinématographiques.  Lille: Les Presses Universitaires du Septentrion, 2013.

Interview (with Jeder Janotti, Jr.).  “Will Straw and the importance of music scenes in music and communication studies.”    Compos, Brazil,  2012.

Video presentation.  “The Legacies and Futures of the Humanities in North America and Beyond.” Ameriquests vol. 9 1-2 (2012).

Driving in Cars with Words.  In Wilfried Raussert and Graciela Martinez-Zalce, eds.  (Re)Discovering ‘America’/(Re)Descubriendo ‘America’.  Trier, Germany:  Wissenschaftlicher Verlag Trier, 2012, pp. 19-30.

“Palavras, canções e carros: Músicas de abertura e as sequências de créditos nos filmes.”  [Link is to English language original.] Translated by Roberto Robalinho.  In Simone Pereira de Sa and Fernando Morais da Costa, editors.  Som + Imagem.   Rio de Janeiro:  Viveiros de Castro Editora Ltda, 2012, pp 111-126.

“Music and Material Culture .”  In Martin Clayton, Trevor Herbert and Richard Middleton, eds.  The Cultural Study of Music:  A Critical Introduction .  Second Edition.  London and New York:  Routledge, 2012.

“Sizing Up Record Collections: Gender and Connoisseurship in Rock Music Culture.” In Mary Celeste Kearney, ed., The Gender and Media Reader .  L ondon and New York, Routledge, 2011. Reprint, pp. 632-640.

Nota roja and journaux jaunes: Popular crime periodicals in Quebec and Mexico.” In Graciela Martinez-Zalce, Will Straw and Susana Vargas, editors.  Aprehendiendo al delincuente:  Crimen y medios en América del norte .  Mexico City : CISAN/UNAM and Media@McGill, 2011, pp. 53-70.

“Preface.” In Viva Paci,  La comédie musicale et la double vie du cinéma .   Paris/Udine, Téraèdre/Forum, 2011, pp. 13-17 .

“The consecration of musical incoherence” Kinephanos ,  vol. 2, no. 1 (April, 2011).

Introduction: The Small Parts, Small Players Dossier .” Screen ,  52 (2011), 78-81.

“Scales of Presence: Bess Flowers and the Hollywood Extra.” Screen,, 52 (2011), 121-127.

“Authorship.” Reprinted in Chris Rojek, ed.,  Popular Music:  Sage Benchmarks in Culture and Society . Los Angeles and London: Sage, 2011, pp. 65-74.

Systems of Articulation, Logics of Change: Communities and Scenes in Popular Music.” Reprinted in Chris Rojek, ed.,  Popular Music:   Sage Benchmarks in Culture and Society . Los Angeles and London: Sage, 2011, pp. 219-249 .

Formal Strategies in the True Crime Photograph.”  Etudes photographiques,  no. 26 (2010).   Traduction française ici

“Action Classics: alcune riflessioni sul corpus dei DVD a basso costo.” In Leonardo Quaresima andValentina Re, editors.  Play the Movie:  Il DVD e le nuove forme dell’esperienza audioovisiva.  Torino: Edizioni Kaplan, 2010, pp. 66-77.

“Cross-Border Visualities and the Canadian Image.” Imaginations,  vol. 1, no. 1 (2010), pp. 24-38.

Tabloid Expo.” In Rhona Richman Kenneally and Johanne Sloan , editors,  Expo ’67:  Not Just a Souvenir .  Toronto: University of Toronto Press, 2010, pp. 221-238.

“Bâtir: La ville intermédiale.” (With James Cisneros).  Intermédialités , no. 14, 2009, pp. 11-18.

“The Circulatory Turn.” In The Wireless Spectrum:  The Politics, Practices and Poetics of Mobile Media.    Editors: Barbara Crow, Michael Longford, Kim Sawchuk. Toronto: University of Toronto Press, 2010, pp. 17-28.

“Cultural Production and the Generative Matrix: A Response to Georgina Born.”  Cultural Sociology,  4: 2 (2010), pp. 1-8.

Letters_of_Introduction_Film_Credits_andCityscapesDesign and Culture,  vol. 2, no. 2 (2010), pp. 155-166.

“”Systems of Articulation, Logics of Change: Scenes and Communities in Popular Music.” Reprinted in Chris Rojek, editor, Leisure Studies.  London and Thousand Oaks: Sage, 2010, pp. 375-396.

“Entsorgung der Tontrager: CDs auf dem Web durch die Stadt.” Translated by Dorothea Lobbermann. In Anke Otlepp and Christoph Ribbat, eds. Mit den Dingen Leben:  Zur Geschicte der Alltagsgegenstande.   Berlin: Franz Steiner Verlag, 2010, pp. 287-296.

“Montreal and The Captive City.” In Quebec Studies,  vol. 33, no. 48 (Fall 2009-Winter 2010), pp. 13-24.

“Spectacles of Waste.” (uncorrected proof). In Alexandra Boutros and Will Straw, editors, Circulation and the City:  Essays on Urban Culture .  Montreal: McGill Queens University Press, 2010, pp. 184-213.

“Hawkers and Public Space: Free Commuter Newspapers in Canada.” In Bart Beaty, Derek Briton, Gloria Filax and Rebecca Sullivan, eds.  How Canadians Communicate III:  Contexts of Canadian Popular Culture.    Athabasca: AU Press, 2010, pp. 79-93.

“Reinhabiting Lost Languages: Guy Maddin’s Careful.” In David Church, editor,  Playing with Memories:  Essays on Guy Maddin .   Winnipeg: University of Manitoba Press, 2009, pp. 58-69.

“The Palace, the Terminal and the Park: Three Blocks in the Middle of Montreal.” In Will Straw and Douglas Tallack, editors.  Global Cities/Local Sites.   Melbourne: Melbourne University Publishing/Universitas 21, 2009. U21 Ebook.

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‘Shifting Boundaries, Lines of Descent: Cultural Studies and Institutional Realignments in Canada,’ Reprinted in Sourayan Mookerjea, Imre Szeman and Gail Faurcshou, editors, Canadian Cultural Studies:  A Reader .    Durham, N.C.: Duke University Press, 2009, pp. 457-471.

“The Music CD and Its Ends.”  Design and Culture,, vol. 1, no. 1 (2009), pp. 79-92.

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“Squawkies and Talkies”, Parallax , vol. 4, no. 2 (2008), pp. 20-30.

“Screens and Extremes.”  In Pierre Tremblay and Louise Poissant, eds.  Prolifération des écrans/Proliferation of Screens . Montréal : Les Presses de l’Université du Québec, 2008, pp. 405-410.

“Characterizing Rock Music Culture: The Case of Heavy Metal.” (Reprint.) In Michael Ryan, ed., Cultural Studies:   An Anthology . Boston: Blackwell, 2008.

“Documentary Realism and the Post-War Left.” In Frank Krutnik, Steve Neale, Brian Neve and Peter Stanfield, editors. Unamerican Hollywood:  Politics and Film in the Blacklist Era .   New Brunswick, N.J.: Rutgers University Press,2008, pp. 130-141

(With Richard Sutherland). “The Canadian Music Industry at a Crossroads.” In David Taras, Frits Pannekoek, and Maria Bakardjieva, editors.  How Canadians Communicate II:  Media, Globalization and Identity .   Calgary, Alberta: University of Calgary Press, 2007, pp. 141-165.

“Embedded Memories.” In Charles Acland, editor. Residual Media .   Minneapolis: University of Minnesota Press, 2007, pp. 3-15.

Systems of Articulation, Logics of Change: Scenes and Communities in Popular Music.” Reprinted in Ken Gelder, editor, The Subcultures Reader ,  2nd Edition. London: Routledge, 2005.

“ Pathways of Cultural Movement.” In Caroline Andrew, Monica Gattinger, Sharon Jeannotte and Will Straw, editors. Accounting for Culture:  Thinking Through Cultural Citizenship .   Ottawa: University of Ottawa Press, 2005, pp. 183-197.

”Les voies du mouvement culturel.” Sociologie et Sociétés, vol. XXXVII, no. 1 (Spring, 2005), pp. 197-215.

” Cultural Scenes .”  Loisir et société/Society and Leisure,  vol. 27, no. 2 (Autumn, 2004), pp. 411-422.

” Traffic in Scandal: The Case of Broadway Brevities.” University of Toronto Quarterly,  vol. 73, no. 4 (Fall, 2004), pp. 947-971.

“Ciudades de perdición: la economía moral de las fronteras norteamericanas”, In Alejandro Mercado Celix and Elizabeth Gutiérrez Romero, editors. Fronteras en América del Norte, Estudios Multidisciplinarios , México: CISAN-UNAM, 2004, pp. 149-160. Translated by Amelia Estévez.

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“Dilemmas of Definition.” In Joan Nix and Jeannette Sloniowski, editors, Slippery Pastimes:  Reading the Popular in Canadian Culture .   Waterloo: Wilfred Laurier University, 2002. Manuscript version here.

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“The Booth, The Floor and the Wall: Dance Music and the Fear of Falling.” In Will Straw, Stacey Johnson, Rebecca Sullivan and Paul Friedlander, eds. Popular Music:  Style and Identity.  Montreal: The Centre for Research on Canadian Cultural Industries and Institutions/International Association for the Study of Popular Music, pp. 249-254.

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‘Characterizing Rock Music Culture: The Case of Heavy Metal.’ Reprinted in Simon During, editor, The Cultural Studies Reader (London: Routledge, 1993), pp. 368-381.

“Popular Music and Post-Modernism in the 1980s.” Reprinted in Simon Frith and Andrew Goodwin, editors,Sound and Vision  (London: Routledge, 1993), pp. 3-21.

‘Shifting Boundaries, Lines of Descent: Cultural Studies and Institutional Realignments in Canada,’ in Valda Blundell, and Ian Taylor (eds.) Relocating Cultural Studies: New Directions in Theory and Research  (London: Routledge, 1993), pp. 86-102.

The Floor, The Booth and the Wall .”  Public  , no. 8 (1993).

‘Montreal Confidential: Notes on an Imagined City,” CineAction, No. 28 (Spring, 1992), pp. 58-64.

‘Systems of Articulation, Logics of Change: Scenes and Communities in Popular Music,’  Cultural Studies, Vol. 5, No. 3 (October, 1991) 361-375.

‘Getting Down To Business: Cultural Politics and Policies in Canada,’ in Benjamin Singer (ed.)Communications in Canadian Society  (Scarborough: Nelson Canada, 1991), pp. 276-294 (with Jody Berland).

‘The Myth of Total Cinema History,’ in Ron Burnett (ed.) Explorations in Film Theory (Bloomington, Indiana: University of Indiana Press, 1991), pp. 237-246.

‘Music video in its contexts: popular music and post-modernism in the 1980s,’ reprinted in Japanese collection of articles on music video, title and publication data untranscribable (Ongaku No Tomo Sha Corporation, 1990).

‘Heavy Metal,’ reprinted in Simon Frith and Andrew Goodwin (eds.) On Record  (New York: Pantheon Books, 1989), pp. 97-110.

‘Rock For Ethiopia,’ in Simon Frith (ed.) World Music, Politics and Social Change  (Manchester and New York: Manchester University Press, 1989) pp. 204-209.

‘Radio and Sound Recording Policy in Canada,’ Australian-Canadian Studies ,  Vol. 7, Nos. 1-2 (1989), pp. 163-166 (with Karyna Laroche).

‘Music video in its contexts: popular music and post-modernism in the 1980s,’ Popular Music 7 (1988), pp. 247-266.

‘The Discipline of Forms: Mannerism in Recent Cinema,’ Cultural Studies,  1 (October, 1987), pp. 361-376.

‘Teaching Critical Media Analysis,’ Canadian Journal of Communication , Vol. ll, No. l (Winter, 1985), pp. 5-16.

‘Rock Music and Rock Music Cultures,’ Canadian University Music Review,  Vol. 5 (1984), pp. 104-122.

‘Semiotics and Communications Studies:  Points of Contact,’ in Progress in Communications Studies, Vol. III (Norwood, N. J.:  Ablex Publishing Company, 1983) pp. 91-114 (with G. J. Robinson).

‘The Myth of Total Cinema History,‘ Cinetracts, No. 9 (Winter, 1980), pp. 8-16.

Published Translations (French to English)

Sarah Kofman.  Camera Obscura:  Of Ideology .  L ondon: Athlone Press, 1998 and Ithaca, New York: Cornell University Press, 1998.

Christine Buci-Glucksmann, “Configurations of the Gaze,” in Christine Davis (exhibition catalogue) (Guelph and Ivry-sur-Seine: Centre d’Art Contemporain/Macdonald Stewart Art Centre, 1993), pp. 55-61.

Sarak Kofman, ‘Camera Obscura of Ideology,’ in Public, No. 7 (1993), pp. 153-170.

‘Interview with Michel Brault,’ in Cinetracts, Vol. 3, No. 2 (Spring, 1980), pp. 37-48.

Louise Carrière, ‘Quebec Film 1966-1980: An Historical Overview,’ in Cinetracts, Vol. 4, No. 4 (Winter, 1982), pp. 36-51.

Boris Eizykman, ‘Chance and Science-Fiction: SF As Stochastic Fiction,’ in Science-Fiction Studies,  Vol. 10, No. 1 (March, 1983), pp. 24-3