各作品研究発表の課題論文は、以下の通りです。
『類猿人ターザン』(1931年)
Walt Morton, "Tracking the Sign of Tarzan: Trans-Media Representation of Pop-Culture Icon."
In Pat Kirkham and Janet Thumim, eds., You Tarzan: Masculinity, Movies, and Men, St. Martin's Press, 1993, pp. 106-125.
『キング・コング』(1932年)
James A. Snead, "Spectatorship and Capture in King Kong: The Guilty Look."
In Valerie Smith, ed., Representing Blackness: Issues in Film and Video, Rutgers University Press, 1997, pp. 25-45.
『新婚道中記』(1937年)
Mike Cormack, "Screwball Restraint: The Awful Truth"
Chapter 7 of Mike Cormack, Ideology and cinematography in Hollywood, 1930-39, St. Martin's Press, 1994.
『赤ちゃん教育』(1938年)
Richard B. Jewell. "How Howard Hawks Brought Baby Up: An Apologia for the Studio System."
In Janet Staiger, ed., The Studio System, Rutgers University Press, 1995, pp. 39-49.
『駅馬車』(1939年)
Nick Browne. "The Spectator-in-the-Text: The Rhetoric of Stagecoach."
In Bill Nicholes, ed., Movies and Methods, vol. II, University of California Press, 1985, pp. 458-475.
『荒野の決闘』(1946年)
Robert Sickels, "All East on the Western Frontier: John Ford's My Darling Clementine (1946).
Film & History, vol. 31, no. 1 (2001): pp. 13-21.
『天はすべてを許し給う』(1955年)
Mary Beth Haralovich, "All That Heaven Allows: Color, Narrative Space, and Melodrama."
In Peter Lehman, ed., Close Viewings: An Anthology of New Film Criticism, Florida State University Press, 1990, pp. 57-72.
『風と共に散る』(1956年)
Hart Wegner, "Melodrama as Tragic Rondo: Douglas Sirk's Written on the Wind."
Literature/Film Quarterly, vol. 10, no. 3 (1982): pp. 155-161.