Jennifer L Jenkins

Interests

Teaching

Visual and Literary Cultures of the US Southwest and Northern Mexico, Introduction to Archives, Archival Film Practice, Media Archaeology, Film History and Theory, Mexican Cinema, Literatures and Film

Research

Southwest US-Mexico Borderlands Studies; Indigenous Moving Image Sovereignty; Borderlands Film Culture; Public History; Visual and Literary Cultures of the Americas.

Courses

Scholarly Contributions

Books

• Jenkins, J. L. (2024). Paperback re-issue:
  Celluloid Pueblo: Western Ways Films and the Invention of the Postwar Southwest. Tucson: UA Press, 2016. Paperback, 2024. Tucson, AZ: University of Arizona Press.
• Jenkins, J. L., & Bustos, A. C. (2024).

  El Concepto efímero para los estudios históricos [The Concept of the Ephemeral in the Study of History]. Adriana Corral Bustos and Jennifer Lei Jenkins. Cuadernos del Centro. El Colegio de San Luis, Mexico, 2024.

  . San Luis Potosí, Mexico: Cuadernos del Centro. El Colegio de San Luis..
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  A philosophical and practical investigation on the uses of the concept of the ephemeral in historical research.
• Jenkins, J. L., & Corral Bustos, A. (2020). Patrimonio Efímero Compartido: Memorias, Experiencias, Cultura Popular y Vida Cotidiana.. San Luis Potosi, Mexico: El Colegio de San Luis.
• Jenkins, J. L. (2016). Celluloid Pueblo: Western Ways Film Service and the Invention of the Postwar Southwest. University of Arizona Press.

Chapters

• Jenkins, J. L. (2024). “Territorial Imperative: The Dark Landscape of the Body in Psycho and Frenzy.”. In Hitchcock Noir. Edinburgh University Press.
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  Each film takes place in a space of postwar lost opportunity and failed promise. The Bates Motel has been literally sidelined by the new Interstate highway; Covent Garden is in its final flower before falling to redevelopment. From these abandoned, betrayed, and condemned spaces, protagonists Norman Bates and Bob Rusk emerge as fighters for their territory by controlling what they can: their immediate environment, and the women who enter it as potential agents of change. Ruined female bodies become synecdoches for ruined home places. Rather than dark knights disaffected by the corrupt city, such as Sam Spade or Philip Marlowe, Hitchcock’s antiheroes in these films are preservationists, conserving and defending their territory through imperative violence, a theme in Hitchcock’s work that goes back at least as far as The Skin Game (1931). In aesthetic contrast to his protagonists’ thematic resistance to change, Hitchcock in Psycho and Frenzy renovates the noir staircases, lanes and alleys, urban labyrinths and shadowed interiors to shape a cinematic topography of desire.
• Jenkins, J. L. (2023). “Adaptation as Mutation: In Cold Blood.” Edinburgh University Press, 2023. ISBN: 9781474496575 [submitted August 2022]. In The Literary Cinema of Richard Brooks. Edited by Homer B. Pettey and R. Barton Palmer.. Edinburgh University Press.
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  ReFocus: The Literary Films of Richard Brooks highlights the accomplishments of one of postwar America’s most important and successful directors, with an emphasis on the "literary" aspects of his career, including his work as a screenwriter and adaptor of such modern classics as Cat on a Hot Tin Roof, Lord Jim, and The Brothers Karamazov.
• Jenkins, J. L., & Hernández Soubervielle, J. A. (2020). ““El cine como consonante del espectáculo en el norte de México y el sudoeste de Estados Unidos (San Luis Potosí y Tucson en la primera mitad del siglo XX).”. In Patrimonio Efímero Compartido: Memorias, Experiencias, Cultura Popular y Vida Cotidiana.(p. 32). San Luis Potosi, Mexico: El Colegio de San Luis.
• Jenkins, J. L. (2020). Conseille de famille and La Petite apocalypse: Comic Melodrama.. In Costa-Gavras: New Interpretations(pp 123-136). Manchester, UK: Manchester UP, 2020.
• Jenkins, J. L. (2020). Pathologies of Pedagogy in Midcentury Melodrama: The Miracle Worker and A Child Is Waiting. In Mind Reeling: Psychopathology on Film(pp 129-154). SUNY Press. doi:10.1515/9781438481029-008
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  In the early 1960s both Washington and Hollywood took a long, hard look at how people with intellectual, physical, and sensory impairments were being educated and integrated into US society. Coincident with the Kennedy and Johnson administrations’ progressive inclusivity legislation, The Miracle Worker (1962) and A Child is Waiting (1963) examine deafblindness and mental retardation as they affect family relations and social views of parenting. Arthur Penn’s much-hailed biopic about Helen Keller and John Cassavetes’s fictional social problem film about intellectually disabled children at a residential school both pair the experimental educational theories of their narratives with experimental film aesthetics....
• Jenkins, J. L. (2020). Pathologies of Pedagogy in Midcentury Melodrama: _The Miracle Worker_ and _A Child is Waiting_. In Mind Reeling: Psychopathology on Screen(pp 129-153). SUNY Press.
• Jenkins, J. L. (2019). The spectacle of Monte Cristo. In French literature on screen(pp 12--31). Manchester University Press.
• Jenkins, J. L. (2017). "Revolutionary Influences on Genre Cinema in Mexico". In Oxford Research Encyclopedia of Latin American History. Oxford University Press.
• Jenkins, J. L. (2017). Rural and Small Libraries: the Tribal Experience. In Rural and Small Public Libraries: Challenges and Opportunities. Ed., Brian Real.. Advances in Librarianship. Emerald Insight Publishing.
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  This discussion will have the feel of a round-table discussion, with participants responding to a series of questions about the unique experience of tribal libraries. Participants represent rural and urban tribal libraries, as well as a rural college library on the largest Native reservation in the U.S. and six cultural traditions and language groups.In a series of questions drawn from the book’s topical headings, participants will respond to issues facing small and rural libraries within Native communities. I’ll coordinate it all and supply a short lit review. In the spirit of tribal communities, the participants will speak in their own words and the narrative will weave itself from their contributions. The “conversation” won’t be live, but when the responses are all placed together it will feel tribal and communal in design.Discussants: Stephen Curley, Archivist, Mashpee Wampanoag Tribe, Tribal Historic Preservation Department, Mashpee, MACordelia Hooee, Knowledge River Scholar Cohort 13, University of Arizona School of Information, Zuni Pueblo, NMDr. Herman Peterson, College Librarian, Kinyaa’áanii Charlie Benally Library, Diné College, Tsaile, AZKari Quiballo, Old Pascua Library and Yaqui Cultural Center, Tucson, AZRhiannon Sorrell, Kinyaa’áanii Charlie Benally Library, Diné College, Tsaile, AZ
• Jenkins, J. L. (2017). Success and the Single Girl: Urban Romance and the Working Woman Film. In Emerging American Film Genres in the Cold War Era. University of Edinburgh Press.
• Jenkins, J. L. (2017). “Exhibiting America: Moving Image Archives and Small Libraries.”. In Rural and Small Public Libraries: Challenges and Opportunities. Ed., Brian Real.. Emerald-Insight Advances in Librarianship Series.
• Jenkins, J. L. (2018). "Success and the Single Girl: Urban Romance and the Working Woman". In Emerging Cold War Genres(p. 27). Edinburgh, Scotland: Edinburgh UP.
• Jenkins, J. L. (2018). Revolutionary Influences on Genre Cinema in Mexico. In Oxford Research Encyclopedia of Latin American History.
• Jenkins, J. L. (2018). The Spectacle of Monte Cristo. In French Literature on Screen. Edited by R. Barton Palmer and Homer B. Pettey.(pp [27pp]). Manchester University Press.
• Jenkins, J. L. (2019). “The Spectacle of Monte Cristo.”. In French Literature on Screen(pp [27]). Manchester, England: Manchester UP.
• Jenkins, J. L. (2020). Conseille de famille and La Petite apocalypse: Comic Melodrama.”. In Costa-Gavras: New Interpretations(pp 123-136). Manchester, UK: Manchester UP, 2020.
• Jenkins, J. L., & Sturman, J. L. (2018). Sounding Modern Identity in Mexican Film. In Cultural Nationalism and Ethnic Popular Music: Indigenous Opera, Dance Dramas, Popular Songs, and Movie Soundtracks, ed. William Beezley(pp 227-253.). Albuquerque: University of New Mexico Press.
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  Here we examine films that represent three periods of Mexican history and identity: the post-revolutionary 1930s; the post-World War II época de oro; and the post-NAFTA millennial period. We do not contend that these films are exclusive representations of the cinema of their respective eras; indeed, they are not. However, these films provide notable representations of Mexican national identity in both sight and sound. Their particular combinations of visual narrative and musical score offer insight into the formation over time of Mexican national identity to “cinematically enfranchised citizens” of Mexico.
• Jenkins, J. L. (2017). Archiving the Ephemeral Experience. In Recent Advances in Archival Knowledge, eds. Karen F. Gracy and Leisa Gibbons. Rowman & Littlefield.
• Jenkins, J. L. (2017). Exhibiting America: Moving Image Archives and Rural or Small Libraries. In Rural and Small Public Libraries: Challenges and Opportunities(pp 181--201). Emerald Publishing Limited.
• Jenkins, J. L., Quiroga, G., Quiballo, K., Peterson, H. A., & Sorrell, R. (2017). Rural and small libraries: The tribal experience. In Rural and small public libraries: Challenges and opportunities(pp 203--218). Emerald Publishing Limited.
• Jenkins, J. L. (2016).

  “Wonderful and Incomparable Beauty”: Adapting Period Aesthetic for The Importance of Being Earnest

  . In Screening Modern Irish Fiction and Drama(pp 103-120). Palgrave Macmillan. doi:10.1007/978-3-319-40928-3_6
• Jenkins, J. L. (2018). "Exhibiting America: Moving Image Archives and Rural or Small Libraries". In Rural and Small Public Libraries: Challenges and Opportunities, ed. Brian Real(pp 181-202). Bingley, UK: Emerald Group.
• Jenkins, J. L. (2018). "Rural and Small Libraries: The Tribal Experience". In Rural and Small Public Libraries: Challenges and Opportunities, ed. Brian Real(pp 203-). Bingley, UK: Emerald Group.
• Jenkins, J. L. (2014). A Symphony of Horror: the Sublime Synaesthesia of Sweeney Todd. In The Philosophy of Tim Burton. Ed., Jennifer McMahon(pp 171-192). Lexington, KY: University Presses of Kentucky.
• Jenkins, J. L. (2014). A Symphony of Horror: the Sublime Synaesthesia of Sweeney Todd. In The Philosophy of Tim Burton(pp 171-192). Lexington: University Presses of Kentucky.
• Jenkins, J. L. (2017). The Philosophy of Marriage in North by Northwest. In Hitchcock's Moral Gaze, eds., R. Barton Palmer, Homer B. Pettey, Steven Sanders(pp 253-269). Albany, NY: SUNY Press.
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  Conformist domesticity of midcentury middle America, stridently promoted in women’s magazines, radio soap operas, and television, is wholly absent from the world of Hitchcock's North by Northwest. It is replaced by a stylish world of sophistication, Cold War tensions, and independent moral agents. There is little place for cosy homemaker-breadwinner couples in the film’s main locations: the U.N., mansions on Long Island and Mount Rushmore, posh hotels in New York and Chicago, the elegant Twentieth Century Limited, and the high-end Michigan Avenue auction house. Even the hospital and National Park Service cafeteria in Rapid City, South Dakota seem inhospitable to couples. The female patient through—and from—whose room Thornhill escapes the hospital could well be one of Bertrand Russell’s dreaming spinsters. The families at Mount Rushmore are mere wallpaper to the complicated gendered showdown meant to separate Thornhill and Kendall, Kendall and Vandamm, and Vandamm (James Mason) and Leonard (Martin Landau). Couples therapy can only occur at the point of a gun, as in the cafeteria, the house atop Mount Rushmore, or on the face of the monument itself.
• Jenkins, J. L. (2017). ‘Wonderful and Incomparable Beauty’: Adapting Period Aesthetic for The Importance of Being Earnest. In Screening Modern Irish Fiction and Drama [Palgrave Studies in Adaptation and Visual Culture](pp 103-120). Palgrave-Macmillan.

Journals/Publications

• Jenkins, J. L. (2025). Co-Editor, Borders and Boundaries, Special Issue (23.1) of The Moving Image. The Moving Image, 23(1), 210.
• Jenkins, J. L. (2023). Cinematic Comanches: The Lone Ranger in the Media Borderlands by Dustin Tahmahkera. Southwestern Historical Quarterly, 126(3), 389--390.
• Jenkins, J. L. (2021). Picturing Indians: Native Americans in Film, 1941--1960 by Liza Black. Southwestern Historical Quarterly, 125(1), 98--99.
• Jenkins, J. L., Dollman, M. S., & Sorrell, R. (2020). Tribesourcing Southwest Films: Counter-Narrations and Reclamation.. KULA: knowledge creation, dissemination, and preservation studies., tba.
• Jenkins, J. L., Sorrell, R., & Dollman, M. (2021). Tribesourcing Southwest Films. KULA. doi:10.18357/kula.133
• Jenkins, J. L. (2020).

  Peter Botticelli, Martha R. Mahard, and Michèle V. Cloonan. (2019). Libraries Archives, and Museums Today: Insights from the Field. London: Rowman & Littlefield, 2019

  . Preservation, digital technology & culture. doi:10.1515/pdtc-2020-0021
• Jenkins, J. L., & Purdy, T. S. (2020). AV Archaeology: Excavating Film in University Special Collections. The Moving Image, 19(1 (released April 2020)), 101-108. doi:https://doi.org/10.5749/movingimage.19.1.0101
• Jenkins, J. L., Sorrell, R., & Dollman, M. (2020).

  Tribesourcing Southwest Films: Counter-Narrations and Speaking Back to Colonial Rhetoric.

  . DH.
• Jenkins, J. L. (2019).

  Return to the land of the head hunters: Edward s. Curtis, the Kwakwaka'wakw, and the making of modern cinema ed. by Brad Evans and Aaron Gslass (review)

  . The Moving Image.
• Jenkins, J. L. (2019). Return to the Land of the Head Hunters: Edward S. Curtis, the Kwakwaka'wakw, and the Making of Modern Cinema ed. by Brad Evans and Aaron Glass. The Moving Image, 19(2), 129--131.
• Purdy, T. S., & Jenkins, J. L. (2019). AV archaeology: excavating film in university special Collections. The Moving Image: The Journal of the Association of Moving Image Archivists, 19(1), 101--108.
• Jenkins, J. (2018). Archiving the ephemeral experience. Emerging trends in archival science, 77--94.
• Purdy, T. S., Jenkins, J. L., Jenkins, J. L., & Purdy, T. S. (2018). A-V Archaeology: Excavating Film in University Special Collections. The Moving Image, 18.2, 15.
• Jenkins, J. L. (2017). The Philosophy of Marriage in North by Northwest. Hitchcock’s Moral Gaze, 253--69.
• Jenkins, J. L. (2016). Cut and Paste: Repurposing Texts From Commonplace Books to Facebook. Journal of Popular Culture, 48(6), 1374-1390.
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  During the European Renaissance, men (and some women) of means compiled cabinets of curiosity: actual cabinets or even whole rooms that contained objects and artworks that reflected the owner’s taste and modernity. These cabinets contained preserved biological and geological specimens, curiosities (“curios”) from the New World, African and Asia, and small artworks (Zytaruk). The cabinet was a mark of the owner-compiler’s worldliness and wealth, and indicated that this person knew enough about the world to select fine elements of it for private display. Cabinets were often organized by Aristotelian taxonomical categories such as Sea, Air, Earth, Flora, Fauna, Time, and so forth. Indeed, wealthy cabinet-owners could afford to hire someone to find and arrange items in their cabinets: an archivist/curator, although not by that name. The textual version of the cabinet of curiosities was the commonplace book, a blank book into which a reader would copy favorite passages of literature for remembrance and commentary. The taxonomic impulse is the same: gaining intellectual and authority control over vast bodies of knowledge by collection, description and organization. The commonplace book was certainly more accessible to merchant-class people than was collecting material objects from around the world. With the rise of literacy and the proliferation of printed matter in the 18th century, commonplace books became more, well, common. Such books are highly personal examples of selection and repurposing of printed texts to construct a new collection that reflects an examined or constructed mental life. This essay surveys the scholarship on several American commonplace books and scrapbooks as self-made anthologies of pre-printed texts to provide context for analysis of an unpublished archival example of self-construction in an author scrapbook and of tattooing and social media as an emergent forms of commonplacing in the 21st century.
• Jenkins, J. L. (2016). “Wonderful and Incomparable Beauty”: Adapting Period Aesthetic for The Importance of Being Earnest. Screening Modern Irish Fiction and Drama, 103--120.
• Feeney, M. E., Elliott, C. M., & Jenkins, J. L. (2015). Up from the Depths: Return of the 16mm Film, or How to Weed Your Film Collection.. Collection Management, 40(2), 1–16..
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  Moving images are essential to the teaching and research engagement on campus. Libraries provide access to media in many formats such as U-matic, 16mm film, VHS, DVD, and streaming video. Changing moving image technologies and preferences by faculty and students presents challenges for the librarian in managing media collections, as libraries must make difficult decisions about weeding legacy moving image collections. The authors offer a case study and practical advice on developing guidelines for collaborative, thoughtful withdrawal of 16mm films, lessons learned, and scaleable recommendations for how libraries and archives can best preserve media collections unique to their campus.
• Feeney, M. E., Feeney, M. E., Elliott, C. M., Elliott, C. M., Jenkins, J. L., & Jenkins, J. L. (2015). Up from the Depths: Return of the 16mm Film, or How to Weed Your Film Collection. Collection Management.
• Feeney, M., Elliott, C., & Jenkins, J. (2015). Up from the Depths: Return of the 16 mm Film, or How to Weed Your Film Collection. Collection Management, 40(2), 67--82.
• Jenkins, J. L. (2015). Cut and Paste: Repurposing Texts from Commonplace Books to Facebook. The Journal of Popular Culture, 48(6), 1374--1390.
• Jenkins, J. L. (2014).

  FRAMING RACE IN THE ARIZONA BORDERLANDS: The Western Ways Apache Scouts and Sells Indian Rodeo Films

  . The Moving Image. doi:10.5749/movingimage.14.2.0068
• Jenkins, J. L. (2014). A Symphony of Horror: The Sublime Synesthesia of Sweeney Todd. The Philosophy of Tim Burton, 171--192.
• Jenkins, J. L. (2014). Framing Race in the Arizona Borderlands: Western Ways “Apache Scouts” and “Sells Rodeo” Films. The Moving Image, 14(2).
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  In 1940, the Tucson-based Western Ways Features Service filmed “Last of the Indian Scouts,” a short feature about Apache Scouts at the Buffalo Soldier Army post at Fort Huachuca, Arizona. This depiction of a multicultural borderlands post includes surprising performances of indigeneity that were part of the Scouts’ regular duties. A second Western Ways film captures Native veterans at the 1945 Papago Rodeo in Sells, Arizona. The two films serve as bookends to Native Arizonans’ involvement in World War II, and depict notably different aspects of Native representation in the pre- and post-war eras, separated as they are by five years in time, 130 miles of Arizona terrain, and distinct cultural differences between their subjects. The Apache Scouts film is anchored in at least a century’s worth of inherited tropes of Indian performance, displayed with some irony to the camera; the Papago Rodeo film reveals a postwar world in which horsemanship and military service are foregrounded and ethnicity is present but normative in the visual narrative.
• Jenkins, J. L. (2014). Framing race in the Arizona borderlands: the Western Ways Apache Scouts and sells Indian Rodeo films. The Moving Image: The Journal of the Association of Moving Image Archivists, 14(2), 68--95.
• Jenkins, J. L. (2013). The Past Is a Moving Picture: Preserving the Twentieth Century on Film by Janna Jones (review). The Moving Image.
• Jenkins, J. L. (2013). The Past Is a Moving Picture: Preserving the Twentieth Century on Film by Janna Jones. The Moving Image, 13(1), 230--233.
• Jenkins, J. L. (2012).

  “Lovelier the Second Time Around”: Divorce, Desire, and Gothic Domesticity in Invasion of the Body Snatchers

  . The Journal of Popular Culture. doi:10.1111/j.1540-5931.2012.00940.x
• Jenkins, J. L. (2012). “Lovelier the Second Time Around”: Divorce, Desire, and Gothic Domesticity in Invasion of the Body Snatchers. The Journal of Popular Culture, 45(3), 478--496.
• Jenkins, J. L. (2005). Searching high and Lo: unholy quests for Lolita. Twentieth Century Literature, 51(2), 210--243.
• Jenkins, J. L. (2001). Hearths and Minds: Violence and Domesticity in Hopi Life. Paradoxa, 15, 146--57.
• Jenkins, J. L. (1999). " The Little Hour of Violence": Domesticity and Desire in James's The Other House. The Henry James Review, 20(2), 166--184.

Proceedings Publications

• Jenkins, J. (2023, January). El Coraz'on Del Pueblo: Teatro Carmen, a Spanish-Language Film and Performance Space in Tucson, Arizona, in 1925. In American Historical Association, 136th Annual Meeting.

Presentations

• Jenkins, J. L. (2024, April). “Tribesourcing Southwest Film: Speaking of the Past, Speaking to the Future.” With Rhiannon Sorrell. 
  . American Indian Literature: Archives and Kinships: Growing Connections in Indigenous Literary Studies. Online: https://www.asail.org/2024-linked-program/: Association of the Study of American Indian Literatures (ASAIL).
• Jenkins, J. L. (2024, February).

  “Captive Audiences: Moviegoing at Los Alamos during the Manhattan Project.”
  

  . Southwest Popular Culture Association. Albuquerque, NM: Southwest Popular Culture Association.
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  During WWII, agroup of select US citizenslivedunder close government controlin the desert Southwest. Managed and surveilled by the War Department, Manhattan Project staff and scientists were considered security risks and vulnerable geniusesby skeptical military administration. Confined to post to protect themselves and the developing A-bomb project, theychafed under governmental control. At the secret atomic city of Los Alamos, movies provided distraction and entertainment for restless inmates.By the 1940s, moviegoing was a commonplace part of American life, whether one was an Ivy League theoretical physicist, a European refugee scientist, ora GI assigned stateside. Thus, theaters were included in the design plans for Los Alamos, the government being aware of the need for both leisure and crowd control. Regional isolation and high security raise provocative questions about this unique cinematic experience: What showed on postmovie screens, when, and why?For Los Alamos scientists,used to the amenities of US and European university towns, Theatres 1 and 2 screened a full range of Hollywood film genres—Westerns, films noirs, spy thrillers, war films, melodramas, musicals, romantic comedies, swashbuckling adventures—along with serial adventures, cartoons, and cliffhangers for the kids. Programs changed three times a week. Newsreels were an important ifslanted source of information about the war effort that supplemented radio broadcasts and classified bulletins from Washington read over the post PAsystem. Sequestered as they were in the remote Southwest, Manhattan Project staff were captive audiences.Titles and genres of films screened atthishigh-security government-funded facility revealwhat government programmers wanted thisdistinct civilian groupto see.The embedded messages of the movies shown in the respective campsreveala cumulative story of soft-power indoctrination. However, the onscreen messaging of entertainment films often collided with the circumstances of viewers’ daily lives. This tension has prompted my investigation of government screening for andofcitizens in wartime containment through the lens of audiovisual media.
• Jenkins, J. L. (2024, March). Captive Audiences: Screening Spaces in Southwestern US Civilian Sequestration Sites. Remembering Spaces of Internment Symposium. University of Arizona: ReSI: Remembering Spaces of Internment.
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  During WWII, two groups of US citizens lived under close government surveillance atsequestered locations in the desert Southwest. Japanese Americans were considered enemyaliens. Manhattan Project staff and scientists were considered vulnerable geniuses. Whether US-born or naturalized, Japanese Americans were effectively domestic prisoners of war, while nuclear physicists were confined to post to protect themselves and the developing A-bomb project. Whilst interned for opposite reasons, both groups nonetheless chafed undergovernmental control. At the War Relocation Authority (WRA) camp at Gila, AZ and at thesecret Manhattan Project atomic city of Los Alamos, NM, movies provided distraction andentertainment for restless internees. Thus, theaters were included in the design plans for both kinds of camps, the government being aware of the need for leisure and crowd control among both populations.Sequestered as they were in the remote Southwest, both Japanese Americans andManhattan Project staff were captive audiences. Titles and genres of films screened at thesehigh-security government-funded facilities reveal what government programmers wanted these two distinct civilian groups to see. When we analyze the embedded messages of the movies shown in the respective camps, a cumulative story of soft-power indoctrination emerges. However, the onscreen messaging of entertainment films often collided with the circumstances of viewers’ daily lives.At the same time that organized movie programs emphasized perceived American values,camp residents were being investigated by the FBI, the DOJ, and in some cases the WarDepartment for un-American sentiments or activities. This tension begs the question ofgovernment screening for and of citizens in wartime containment through the lens of audiovisual media. The cinemascape of these Southwestern spaces of internment adds to our historical understanding of this period of rights abridgement and citizen investigation under the guise of wartime security.
• Jenkins, J. L. (2024, May). Tribesourcing Southwest Film Workshop. NAU Archives and Special Collections Workshop. Cline Library, Northern Arizona University: NEH.
• Jenkins, J. L. (2024, November).

  Collaborative Care for Arizona-Based Moving Images, with Nix Mendy, Northern Arizona University; and Rhiannon Sorrell, Diné College.
  

  . Arizona Archives Alliance. Tempe, AZ: Arizona Archives Alliance.
• Jenkins, J. L. (2024, November).

  Nuclear Nepantla: Cold War Legacies in the Southwestern US and Northern Mexico. Roundtable with Peter Soland, Myrriah Gómez, Dmitri Brown, and moderated by Edna Suárez-Díaz. 

  . History of Science Society. Mérida, Mexico: History of Science Society.
• Jenkins, J. L. (2024, November).

  “Collaborative Care for Moving Images on the Colorado Plateau,” with Nix Mendy, Sam Meier, and Kelly Phillips, Northern Arizona University; and Rhiannon Sorrell, Diné College. , November 13, 2024.

  . SOVEREIGN FUTURES: WEAVING TRADITION AND INNOVATION: 2024 International Conference of Indigenous Archives, Libraries, and Museums. Palm Springs, CA: Association of Tribal Archives, Libraries, and Museums.
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  Collaborative Care for Moving Images on the Colorado Plateau Wednesday, November 13, 2:30 PM-2:45 PM Staff from Northern Arizona University, the University of Arizona, and Diné College will discuss their National Endowment for the Humanities grant-funded project Digitizing the Moving Images of the Colorado Plateau and the American Southwest. This project builds capacity to care for audiovisual materials held by NAU and its Indigenous partners: the Hualapai Tribe, the Hopi Tribe, and Navajo Nation. Presenters will address digitization and preservation issues for audiovisual materials which are highly at risk of obsolescence, damage, or permanent loss. They will discuss challenges and opportunities for collaborating across institutions to manage and revitalize Indigenous audiovisual materials.
• Jenkins, J. L. (2024, November). El ciné casero y ciné clásico como fuente principal por historiadores y geógrafos. [Home movies and classical cinema as primary sources for historians and geographers.]
  

   

  . Invited lecture. Universidad Autónoma de Tamaulipas, Cd. Victoria, Tamaulipas, Mexico: Instituto de Investigaciones Históricas, UAT.
• Jenkins, J. L. (2024, October).

  Las humanidades digitales como herramienta de descolonización.  [Digital humanities as a tool for decolonization]
  

  . Ciclo de conferencias [speaker series]: Humanidades digitales.. San Luis Potosí, Mexico: Colegio de San Luis, San Luis Potosí, Mexico.
• Jenkins, J. L. (2024, October).

  Mediated Mestizaje: Steinbeck’s The Pearl, mexicanidad, and Cross-Cultural Adaptation.
  

  . Western Literature Association. Tucson, AZ: Western Literature Association.
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  Emilio Fernández’ 1947 filmic adaptation of John Steinbeck’s The Pearl (also 1947) moves full circle from Mexican oral narrative to U.S. text to Mexican filmic image, as the story-as-text flows from Mexico to the U.S. to Mexico. The narrative purportedly derives from a Mexican folk tale that Steinbeck heard around 1940. In writing the screenplay, and then a magazine story, and then the novella, and then completing the Mexican filmscript, Steinbeck mediates the folk tale in several English-language genres prior to committing to the Spanish-language film as the world debut of the definitive version. By returning the narrative to its originary culture, the Fernández film presents a kind of mediated fidelity: adaptation as a return to the source. This presentation will trace the movement of story across borders, cultures, and narrative forms as it adapts U.S. notions of Mexican-ness to Mexican notions of mexicanidad through the process of cross-cultural adaptation of both text and image. In addition to the textual source material, we will examine the process of visual adaptation from the first edition textual illustrations by José Clemente Orozco to the glorious black and white film imagery of master cinematographer Gabriel Figueroa. Notably, the U.S.-Mexico co-production was shot in Spanish and English versions simultaneously, further layering the cultural, linguistic, and visual adaptation of the story of Kino, Juana, and the infant Coyotito and the gift or curse of the pearl.
• Jenkins, J. L. (2023, April). Round Table: “Tribesourcing Southwest Film.” . Polyphonic Communities Exhibition, Finger Lakes Environmental Film Festival. Ithaca, NY: Ithaca College/NYU Abu Dhabi.
• Jenkins, J. L. (2023, February). “El corazon del pueblo: Teatro Carmen, a Spanish-language film and performance space in Tucson, Arizona, in 1925.” Panel:  Public Dimensions of History in Mexico and the U.S.. Colegio de San Luis 26 Aniversario. Online: Colegioo de San Luis, San Luis Potosi, Mx..
• Jenkins, J. L. (2023, February). “Japanese and American Movies at Gila River Internment Camp, 1942-46.” . Southwest Popular/American Culture Association. Albuquerque, NM: SWPACA.
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  This archives-based project examines the role of cinema in the lives of American citizens under government control during World War II: those sequestered by the War Relocation Authority in the two Japanese incarceration camps in Arizona and the four prison camps in New Mexico. These government-built ephemeral communities each had purpose-built movie theatres; films arrived regularly by post or train after clearing government approval. What kinds of films were shown in these compounds, and what agenda did those programs serve? Feature films, newsreels, cartoons, how-to films, and overt propaganda may have filled the screens.  The hitherto unexplored viewing experience of these two groups of Americans provides insight into the wartime government’s notion of the function of cinema writ large and also raises complex issues of spectatorship, compulsory and volitional, in relation to the curated content on camp screens.
• Jenkins, J. L. (2023, March). “Nukes, Nihon-jin and New Mexico: the Wartime Proximity of the Manhattan Project and Peruvian Japanese Prisoners.”    Panel: Peruvian Prisoners, Mexican Miners, and a Man of God: Nuclear History and Morality in the US–Mexican Borderlands.. Rocky Mountain Council on Latin American Studies (RMCLAS). Santa Fe, NM: RMCLAS.
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  During WWII, two groups of people were sequestered in the New Mexico high desert under tight military control. Manhattan Project staff and scientists at Los Alamos, NM, were considered vulnerable geniuses. Japanese and Japanese Americans were considered enemy aliens. The team in the secret atomic city at Los Alamos was tasked with developing nuclear weapons for possible use against Japan.  Forty miles southeast, a prison camp in Santa Fe housed Japanese nationals who had already been disruptive in the War Relocation Camps or were considered too knowledgeable about US infrastructure to be deported to Japan.  Among this population were some 100-plus Peruvian Japanese men who had been deported to the U.S. under a bilateral agreement nominally designed to protect the Panama Canal Zone. The juxtaposition of these two populations is a curious circumstance, indeed. Was it simply an accident of history, or a convenient co-location that facilitated staffing, supplies, and administrative oversight for the A-Bomb project and members of its target population?  This presentation examines an unexplored aspect of the history of New Mexico in this period: the proximity of nuclear research and Japanese incarceration. This dimension/episode of borderlands nuclear history engages both the inventors and their intended victims, each contingent apparently unaware of the other at the time.   Based on archival research and primary documents, this presentation examines the first chapter of US nuclear history and its geographical overlay with incarceration of Japanese US citizens and Japanese Peruvian deportees, both efforts driven by hemispheric xenophobia.
• Jenkins, J. L. (2022, February). “Screening Americans: Cinema and Citizenship at Japanese Internment and the Manhattan Project Camps in the Southwest.” . Southwest Popular Culture Association. Albuquerque, NM: SWAPACA.
• Jenkins, J. L. (2022, March).

  “El corazón del pueblo: Teatro Carmen, un espacio de actuación y cine en español en Tucson, Arizona, en 1925.” [The heart of the pueblo: Teatro Carmen, an event space and Spanish-language cinema in Tucson, Arizona in 1925.]

  . Historia pública: documentos, entornos físicos y visuales (cultura material e inmaterial) Virtual binational conference.. Online: Colegio de San Luis (San Luis Potosi, Mx) and UArizona.
• Jenkins, J. L. (2022, October). “Tribesourcing A-V Resources: A Path to Repatriation.” With Melissa Dollman and Rhiannon Sorrell. . Association of Tribal Libraries, Museums, and Archives (ATALM). Pechanga Indian Community, CA: ATALM.
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  This Flash Talk discusses the ongoing Tribesourcingfilm.com project and its process for repatriating mid-century media about Indigenous peoples of the U.S. through Native re-narration of vintage films. Presenters will give a progress report and discuss plans to fully decolonize the project in future by shifting project leadership to local communities. The project serves as a model for tribal libraries, archives, and museums to reinstate image sovereignty over vintage A-V resources in their collections.
• Jenkins, J. L. (2022, October). “Tribesourcing Southwest Film: Palimpsest and Digital Decolonization.” . Western Literature Association. Santa Fe, NM: Western Literature Association.
• Jenkins, J. L., Sorrell, R., Parrish, M., & Dollman, M. (2022, June). “The Tribesourcing Southwest Film Project: A Diné Response to the Sponsored Educational Film The Navajo Moves into the Electronic Age (General Dynamics, ca. 1968).”  With Melissa Dollman, Rhiannon Sorrell and Michael Parrish.. Orphan Film Symposium. Montreal, Québec, Canada: Orphan Film Symposium.
• Jenkins, J. L. (2021, April).

  “La Vida cotidiana en el cine casero: el caso del Tombstone Home Movie Project.” Panel: Circulación y consumo cultural de ideas como patrimonio cultural efímero. [Daily life in the home movie: the case of the Tombstone Home Movie Project.]

  . XLVI Simposio de Antropología e Historia.. Universidad de Sonora, Hermosillo, Son. Mexico: Universidad de Sonora, Hermosillo, Son..
• Jenkins, J. L. (2021, February).

  “Of Cinema and Citizenship: Screening Identity in War Relocation Camps in the West, 1942-1946.”  [online due to pandemic]

  . Southwest Popular Culture Association. Albuquerque, NM: SWAPACA.
• Jenkins, J. L. (2021, July).

  "Tribesourcing: reclaiming Indigenous representation | reclamar la representación indígena." [Binational workshop on shared US-Mexico heritage, history and knowledges]
  

  . Taller binacional: La dimensiones públicas de herencias, historias y saberes compartidos entre México y Estados Unidos.. Colegio San Luis, San Luis Potosí.
• Jenkins, J. L. (2020, February). Consonant Cinemaspaces in Northern Mexico and the US Southwest.. Southwest Popular Culture Association. Albuquerque, NM: Southwest Popular Culture Association.
• Jenkins, J. L. (2020, February). Indian Country as Source Text: The Postwar Educational Films of Avalon Daggett.. Southwest Popular Culture Association. Albuquerque, NM: Southwest Popular Culture Association.
• Jenkins, J. L. (2020, July). “Tribesourcing Southwest Films: Counter-Narrations and Speaking Back to Colonial Rhetoric.”. Digital Humanities 2020 Virtual Conference. Virtual due to pandemic; planned for Ottawa, CA: Alliance of Digital Humanities Organizations (ADHO).
• Jenkins, J. L., Dollman, M. S., & Sorrell, R. (2020, June). Tribesourcing Film Project -. Augmented Humanity Podcast June 2020, New Mexico Humanities.. https://nmhumanities.org/NMHC.php?c=1541: New Mexico Humanities..
• Jenkins, J. L., Dollman, M. S., & Sorrell, R. (2020, May). Tribesourcing Southwest Film: Building Relationships of Mutual Respect. Native American Archives Section, Society of American Archivists/Sustainable Heritage Network [WEBINAR]. http://sustainableheritagenetwork.org/digital-heritage/protocols-webinar-series-1-building-relationships-mutual-respect: Society of American Archivists/.
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  Training session on implementing the Protocols for Native American Archival Material in relation to the Tribesourcing project.
• Jenkins, J. L. (2019, February). Historiography of Cinema in Mexico, 1896-1930 (6 hours). Research Seminar [part of visiting research chair "Cátedra Primo Feliciano Velázquez". San Luis Potosi, Mexico: El Colegio de San Luis.
• Jenkins, J. L. (2019, January-December). Permanent Seminar: Patrimonio Efímero Compartido: Memorias, Experiencias, Cultura Popular y Vida Cotidiana [Comparative Ephemeral Heritage: Memory, Experience, Popular Culture, and Daily Life]. Seminario Permanente [Working Group]. San Luis Potosi, Mexico: El Colegio de San Luis.
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  Group of 14 scholars, museum professionals, and doctoral students and postdocs from El Colegio de San Luis, Museo Francisco Cossío, and Universidad Autonomia San Luis Potosí.
• Jenkins, J. L. (2019, June). “Teatros de conversión: un mapeo preliminar del espacio de cine en San Luis Potosí,”. Segundo Simposio Internacional Patrimonio Cultural Compartido. San Luis Potosi, Mexico: El Colegio de San Luis/UA College of SBS.
• Jenkins, J. L. (2019, March). “Straight Out of Compton: Avalon Daggett’s Postwar Educational Film Career,”. Society for Cinema and Media Studies. Seattle, WA: Society for Cinema and Media Studies.
• Jenkins, J. L. (2019, May). Metodologías de análisis del filme como fuente histórica: Técnica Decoupage (6 hours). Research seminar as visiting chair [part of Cátedra Primo Feliciano Velázquez]. San Luis Potosi, Mexico: El Colegio de San Luis.
• Jenkins, J. L. (2019, September). Arcaeologia de Media (6 hours). Research seminar [part of visiting research chair "Cátedra Primo Feliciano Velázquez"]. San Luis Potosi, Mexico: El Colegio de San Luis.
• Jenkins, J. L., Dollman, M. S., Sorrell, R., & Fatzinger, A. S. (2019, October). Tribesourcing Vintage Educational Films: Repurposing With Native Narrations. Association of Tribal Archives, Libraries and Museums. Penchanga Indian Community, CA: Association of Tribal Archives, Libraries and Museums.
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  Panel presentation by Tribesourcing team on NEH-funded project to decolonize and repatriate midcentury educational films
• Jenkins, J. L., Dollman, M. S., Sorrell, R., & Littleben, C. (2019, November). Tribesourcing Midcentury Educational Films: Digital Repatriation and Local Knowledge. Association of Moving Image Archivists. Baltimore, MD: Association of Moving Image Archivists.
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  Panel presentation by Tribesourcing team on NEH-funded project to decolonize and repatriate midcentury educational films
• Jenkins, J. L. (2018, January). “Cruzando la frontera en 1939: Western Ways Film Service.”. Documento del Siglo XX en Archives del Siglo XXI: Promoviendo lo Efímero como Patrimonio Cultural.. Colegio de San Luis, San Luis Potosí, Mexico: Seminario Permanente: Taller Sobre Patrimonio Fílmico y Gráfico..
• Jenkins, J. L. (2018, November). Plenary Session: Indigenous Cultural Heritage: Ethical Stewardship. Association of Moving Image Archivists. Portland, OR: Association of Moving Image Archivists.
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  Moderator of plenary session: While Indigenous and tribal communities around the world are taking steps to reaffirm control over images and sounds of their communities, many materials remain in archives, museums, and libraries outside of tribal communities. Because of issues of colonialism, cultural appropriation and variability in knowledge systems (and ways of knowing), stewardship of these materials can be complex, with unique cultural, political, and spiritual sensitivities. How can audiovisual archivists working with materials from first peoples ensure a deeper understanding of the needs of indigenous knowledge keepers and archival materials to ensure ethical stewardship? What is the role of audiovisual archivists in the landscape of collaboration with indigenous communities to ensure that reaffirm their authority and control cultural heritage, and – though there is not one solution – what kinds of partnerships and collaborations can be further fostered or supported to ensure ethical stewardship and sustainability of indigenous archives?Speakers: Jen Hart, Medweganoonind Library, Red Lake Nation College and Michael Pahn, Smithsonian National Museum of the American Indian Cultural Resource Center
• Jenkins, J. L. (2018, November). “The Mine With the Iron Door: Tracing the Landscape from Text to Screen,”. American Literature Association Symposium. Santa Fe, NM: American Literature Association.
• Jenkins, J. L. (2019, February). "Gold Is Where You Find It": Extractive Narrative and Adaptive Landscape in The Mine with the Iron Door,”. Southwest Popular and American Culture Association. Albuquerque, NM: Southwest Popular and American Culture Association.
• Jenkins, J. L., & Fatzinger, A. S. (2018, February). “Tucson Tinseltown: Hollywood in the Old Pueblo.”. In Conjunction with "Desert Hollywood: Celebrity Landscapes in Cinema" Exhibit. Tucson Desert Art Museum.
• Jenkins, J. L., & Fatzinger, A. S. (2018, October). "Tribesourcing Midcentury Southwestern US Educational Films. Participation, Equity, and Inclusion: L2DL Digital Literacies Symposium. Online: Center for Educational Resources i Culture, Langugage, and Literacy (CERCLL).
• Jenkins, J. L. (2017, February). Mediated Fidelity: Steinbeck's The Pearl, Mexicanidad, and Cross-Cultural Adaptation. Southwest Popular and American Culture Association. Albuquerque, NM: Southwest Popular and American Culture Association.
• Jenkins, J. L. (2017, January). "Visions of the Borderlands: Exploring Popular Historical Imagery". Opening event for " Visions of the Borderlands: Myths and Realities" exhibit at UA Special Collections. UA Libraries Special Collections: UA Libraries, UA Press.
• Jenkins, J. L. (2017, July). Re-Framing the Native Image: Tribesourcing Midcentury Educational Films. Archival Educators Research Institute. Toronto, Ontario, Canada: Archival Educators Research Institute.
• Jenkins, J. L. (2017, Spring). Representations of the US-Mexico Border. Visions of the Borderlands: Exploring Popular Historical Imagery. UA Libraries Special Collections: UA Libraries, UA Press.
• Jenkins, J. L., & Fatzinger, A. S. (2017, October). Tribesourcing New Narratives: Decolonizing Mid-Century Educational Media. Association of Tribal Libraries, Museums, and Archives. Santa Ana Pueblo, New Mexico: Association of Tribal Libraries, Museums, and Archives (ATALM).
• Jenkins, J. L. (2016, Fall). Celluloid Pueblo: Wesern Ways Film and the Invention of the Postwar Southwest. "Show and Tell @ Playground". Tucson, Arizona, USA: UA Confluencenter for Creative Inquiry.
• Jenkins, J. L. (2016, July). Archiving the Ephemeral Experience. Archival Educators Research Institute (AERI). Kent State University, Kent OH, USA: AERI.
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  Accepted for presentation at week-long Research Institute for archives professionals and educators.
• Jenkins, J. L. (2016, November). “Back from the Brink: Keeping, Using, and Valuing the Arizona 16mm Collection”. Association of Moving Image Archivists. Pittsburgh, PA, USA: Association of Moving Image Archivists.
• Jenkins, J. L. (2016, November). “Crossing the Border in 1939: Western Ways on the Kino Trail”. Convergences: Borders and Frontiers [English Department In-House Lecture Series]. UA Museum of Art, Tucson, AZ USA: Department of English.
• Jenkins, J. L. (2016, November). “Reclaiming Indigenous Sacred Moving Images in Public Collections” . Association of Moving Image Archivists Conference. Pittsburgh, PA, USA: Association of Moving Image Archivists.
• Jenkins, J. L. (2016, October). Tribesourcing 20th Century Film Narratives. Association of Tribal Archives, Libraries, and Museums (ATALM) international conference. Gila River Indian Community: Association of Tribal Archives, Libraries, and Museums (ATALM).
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  The American Indian Film Gallery is a collection of over 450 films by and about Native peoples made between 1940 and 2010. This talk will cover issues in making these films widely accessible, including culturally-sensitive moving image archiving, labeling, and use guidelines; the importance of using Traditional Knowledge Systems in concert with archival best practices; the crucial need to incorporate tribal information on the films in finding aids and taxonomies; the need for Native language presence in the archive as a whole.
• Jenkins, J. L. (2015, July-Aug). American Indian Film Gallery: the Moving Image, Tribesourcing, and the Archive. Library History Seminar XIII: Libraries: Traditions and Innovations. Simmons College, Boston: Society for the History of Authorship, Reading and Publishing.
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  The project of positioning the American Indian Film Gallery as an interactive, multimedia, multiethnic, and polyvocal resource raises both workaday and theoretical issues, such as: culturally sensitive moving image archiving, labeling, and use guidelines; the importance of using Traditional Knowledge Systems in concert with archival best practices; the crucial need to incorporate tribal information on the films in finding aids and taxonomies; the need for native language presence in the archive as a whole. Informed practice is essential. By employing “tribesourcing,” we invite elders to view and respond to the films in indigenous or/and European languages. These mp3 audio files offer counternarratives to AIFG users as they view the films. This aspect of the project allows for identification of people, places, practices, and vocabulary that might otherwise be lost, as well as providing a significantly richer, community-based metadata record for each film, thereby taking a small step toward cultural repatriation.
• Jenkins, J. L. (2015, June). "Powers of Ten" as a Case Study in Mechanical Projection. AMIA@ALA Preconference Workshop. San Francisco, CA: American Library Association.
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  A discussion and demonstration of Charles and Ray Eames' 16mm film, "Powers of Ten," as a case study of the viability of mechanical projection within academic and general audience settings.
• Jenkins, J. L. (2015, November). The Phenomenology of Mechanical Projection. Association of Moving Image Archivists. Portland, OR: Association of Moving Image Archivists.
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  Keeping it Real: Providing Access to Physical CollectionsAs the physical technology of film and analog a/v materials becomes increasingly unfamiliar to new generations of users, archivists are responding with increasingly innovative methods of making sure that physical collections remain useful and accessible. In this session, archivists working with physical film and video collections will report on their experiments with turning libraries into spaces for interacting with film, bringing archival materials into the classroom, using open-source applications and improved workflows for discovery of analog video, and encouraging the remix, reuse, and re-imagining of physical media.
• Jenkins, J. L. (2015, September). Rethinking Mexican Cinema History: Studiography as Methodology. UNAM@UA: Popular Culture and Arts of Mexico. UA Special Collecitons: The National Autonomous University of Mexico and The University of Arizona.
• Jenkins, J. L. (2014, December). The Afterlife of Film: Rereading, Repatriation, and Tribesourcing the American Indian Film Gallery. Captured Shadows: the Circulation of Native American Images. Washington, DC: National Museum of the American Indian.
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  The American Indian Film Gallery offers a work-in-progress of moving image archiving within a multiethnic and multicultural context. This collection of over 450 films about and by Native peoples of the Americas includes educational, industrial, sponsored, and tribal films, with a large portion of the collection dating to the so-called golden age of 16mm filmmaking in 1940s-60s. As historical documents, this film collection also presents a dynamic record of the filmmaking process as it changed, around 1970, from being about Native peoples to being by Native peoples. The project of positioning the American Indian Film Gallery as an interactive, multimedia, multiethnic, and polyvocal resource through tribesourcing allows for identification of people, places, practices, and vocabulary that might otherwise be lost, as well as providing a significantly rich, community-based metadata record for each film, thereby taking a small step toward cultural repatriation.
• Jenkins, J. L. (2014, October). Deaccession and Deployment at a University Library: the Arizona 16mm Collection. Association of Moving Image Archivists. Savannah, GA: Association of Moving Image Archivists.
• Jenkins, J. L. (2014, October). Using Films: Reviving 16mm in the 21st Century Classroom. Association of Moving Image Archivists. Savannah, GA: Association of Moving Image Archivists.
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  Using Films: Reviving 16mm in the 21st Century ClassroomThis panel will examine ongoing efforts to re-introduce 16mm film into K-12, college, and community classrooms as both a preservation and an education initiative. Typical 16mm content is often not available in other formats, and the continued usefulness and adaptability of the gauge and medium in educational efforts underscores its viability. Collection assessment efforts at colleges and universities in the U.S. have yielded local treasures, as well as presumed-lost born-16 films. Learning environments dedicated to film study can benefit enormously from this resource, as can public/social history, history of science, art and advertising, communications, and foreign language, and countless other disciplinary areas. The challenges of and strategies for maintaining active 16mm collections will frame this conversation. Panelists will present case studies from their own collections and discuss collaboration, coalition-building and advocacy among 16mm collections nationally. Audience members will be encouraged to contribute to a culminating discussion of the status, successes and obstacles in keeping film in the learning environment.The goal of this panel is to bring together successful users of 16mm in educational contexts, and to demonstrate ways in which collections managers and film faculty can revive this format in 21st century classrooms. This session will engage the tension between conservation for longevity and archiving for access to original formats right now. It will also:• raise awareness of the inherent value of the original format• argue for access to that format• propose the new model for success which partners librarians and educators with archivists Panelists:Johanna Bauman, Visual Resources Curator at Pratt InstituteRoger Leatherwood Brown, Manager of Instructional Media Collections and Services at UCLACarolyn Faber, Media Collections Manager at the School of the Art Institute in ChicagoAntonella Bonfanti, Collection Manager, Canyon Cinema Rachael Stoeltje, Director, Film Archives at Indiana UniversityDwight Cody, The Boston Connection, Film Equipment Supplier dedicated to servicing classroom projectors
• Feeney, M. E., Feeney, M. E., Elliott, C. M., Elliott, C. M., Jenkins, J. L., & Jenkins, J. L. (2013, November). Up From the Depths: Return of the 16mm Collection. Association of Moving Image Archivists (AMIA) Annual Conference. Richmond, VA.

Poster Presentations

• Jenkins, J. L. (2024, February). Screening Americans: Cinema and Citizenship in Gila Incarceration Camp and Los Alamos, 1942-46. Social and Behavioral Sciences Research Institute Research Showcase. University of Arizona: SBSRI.

Reviews

• Jenkins, J. L. (2020. Libraries Archives, and Museums Today: Insights from the Field by Peter Botticelli, Martha R. Mahard, and Michèle V. Cloonan.(pp 75-77). https://doi.org/10.1515/pdtc-2020-0021.
• Jenkins, J. L. (2020. Return to the Land of the Head Hunters: Edward S. Curtis, the Kwakwa̱ka̱’wakw, and the Making of Modern Cinema by Brad Evans, Aaron Glass. [released 2020](pp 129-31.). doi:10.5749/movingimage.19.2.0129.
• Jenkins, J. L. (2017. Review of WESTERNS: A WOMEN'S HISTORY by Victoria Lamont (U Nebraska P, 2016).(pp 105-106.).
• Jenkins, J. L. (2013. The Past Is a Moving Picture: Preserving the Twentieth Century on Film by Janna Jones (review)(pp 230-233).

Others

• Jenkins, J. L., & Sorrell, R. (2023, April).

  “Tribesourcing Southwest Film,” with Rhiannon Sorrell, Indigenous Knowledges in Digital Spaces 2-day webinar, hosted by Wellcome Collection (UK) as part of an NEH-AHRC collaborative US-UK grant, April 12-13, 2023.

  . https://www.eventbrite.co.uk/e/indigenous-knowledges-in-digital-spaces-day-1-protocols-tickets-598444432407?aff=odcleoeventsincollection
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  How do we implement protocols to care for and facilitate access to culturally sensitive materials in UK collections? How can we adapt our ways of working to establish trustful, meaningful, and sustainable relationships? What does this look like across a digital divide?This April, the AHRC-NEH Indigenous Knowledges project team warmly welcome you to join us at two transatlantic webinars to explore how cultural institutions can enhance cultural authority for Indigenous communities, within a digital space. This event is primarily aimed at GLAM (Galleries, Libraries, Archives, Museums) sector professionals in the UK, but is open to everyone. We especially encourage custodians of culturally sensitive materials who are at the early stages of these conversations to join us.
• Jenkins, J. L. (2017, August). "Revolutionary Influences on Genre Cinema in Mexico". Oxford Research Encyclopedia of Latin American History. http://latinamericanhistory.oxfordre.com/browse?t0=ORE_LAH:REFLAH004
• Jenkins, J. L. (2016). Celluloid Pueblo: Western Ways Films and the Invention of the Postwar Southwest.
• JENKINS, J. (2004). WILLA CATHER AND THE AMERICAN SOUTHWEST.
• JENKINS, J. (1998). BEAUTIFUL SWIFT FOX: Erna Fergusson and the Modern Southwest.
• Jenkins, J. L. (1993). Failed mothers and fallen houses: gothic domesticity in nineteenth-century American fiction.