Recent graduate courses include: Digital Dust: Archives and New Media, From Document to Documentary, Cinema and the Everyday, Colonial/Postcolonial Theory & French Cinema; and undergraduate courses on Photography and Film, European Silent Cinema, Consumer Culture and Cinema and Recording War.
“Film as ‘the skin of History’: André Bazin and the Specter of the Archive and Death in Nicole Védrès’s Paris 1900 (1947),” Representations 130 (Spring 2015): 84-118.
“Visual Riposte: Reconsidering the Return of the Gaze as Postcolonial Theory’s Gift to Film Studies” (Cinema Journal, 52.3 (Spring 2013): 25-48. This essay was awarded the 2014 Katherine Singer Kovács Outstanding Essay Award by the Society of Cinema and Media Studies
Interview about "Visual Riposte" article on Aca-Media (the podcast of the Society for Cinema and Media Studies and Cinema Journal): http://www.aca-media.org/
Follow-up essay to my Cinema Journal "Visual Ripose" article:"If Looks Could Kill: Postscripts and Afterthoughts to 'Visual Riposte,' "Flow. Vol. 17.12 (2013). http://flowtv.org/2013/05/if-looks-could-kill-postscripts-and-afterthoughts-to-%E2%80%9Cvisual-riposte%E2%80%9D-paula-amad-university-of-iowa/
“From God’s-eye to Camera-Eye: Aerial Photography and Modernity’s Post-humanist and Neo-humanist Visions of the World.” History of Photography, 36.1 (February 2012): 66-86.
Counter-Archive: Film, the Everyday, and Albert Kahn’s Archives de la Planète (Columbia University Press, 2010).
“Between the ‘familiar text’ and the ‘book of the world’: Touring The Ambivalent Contexts of Travel Films,” in Virtual Voyages: Cinema and Travel, ed. Jeffrey Ruoff (Duke University Press, 2006) 99-116.
“‘These spectacles are never forgotten’: Memory and Reception in Colette’s film criticism.” Camera Obscura: Feminism, Culture and Media Studies 59 (2005): 119-164.
"'Objects became witnesses': Ève Francis as witness to the emergence of French cinephilia and film criticism.” Framework: The Journal of Cinema and Media 46.1 (Spring 2005): 56-73
Paula teaches and researches at the intersection of film history, film theory, and literary studies, with a particular interest in French cinema, nonfiction film, archive and memory studies, postcolonial theory in the visual domain, and the relationship between photography and film.
She has published articles in Camera Obscura, Framework, Film History, and Cahiers de la Cinémathèque, some of which have been translated into German and Italian. Her current book projects include one on the archival imaginary of post-war French cinema and another on aerial photography and film, and article projects on the cinematic haunting of the site of Les Halles and women and French cinephilia. Paula has taught at Melbourne University, Indiana University, and University of Paris III. She is a recipient of the Getty Foundation Postdoctoral Fellowship (2006-7), a Shpilman Institute of Photography Research Award (2011), and a Visiting Scholar Fellowship at the Max Planck Institute for the History of Science in Berlin (Fall 2011). Her book Counter-Archive was deemed a highly recommended book by the Kraszna-Krausz Foundation Book Awards for 2011.