| The Aesthetics of Postcolonial Cinema in Raul Ruiz's Three Crowns of the Sailor S Doran Postcolonial cinema studies, 2011 | 151* | 2011 |
| The Culture of Yellow: Or, The Visual Politics of Late Modernity S Doran Bloomsbury, 2013 | 58 | 2013 |
| Synaesthesia in European Film Theory S Doran European Film Theory, 240-254, 2010 | 43* | 2010 |
| Synaesthesia in film theory S Doran European Film Theory, 240-254, 2008 | 7 | 2008 |
| Nollywood in transit: The globalization of Nigerian video culture C Hoffmann Postcolonial Cinema Studies, 218-232, 2012 | 6 | 2012 |
| Archival Art and Open Wounds: From Hofmannsthal to Installation Art S Doran Seminar: A Journal of Germanic Studies 53 (3), 234-250, 2017 | 3 | 2017 |
| The Temporality of Short Fiction and the Yellow Nineties S Doran Tale, novella, short story: currents in short fiction 20, 2004 | 3* | 2004 |
| Chronos/Chroma: Yellow Figures in Proust's La Prisonnière and Bely's Petersburg S Doran The Comparatist 28 (1), 53-75, 2004 | 2 | 2004 |
| Gelbe Momente: ästhetische Materialität in Hofmannsthal und der Avantgarde S Doran | 1 | 2005 |
| Raul Ruiz's Cinema of Inquiry V de los Ríos, M Goddard, A Rodríguez-Remedi, CL Benamou, J Stewart, ... Wayne State University Press, 2017 | | 2017 |
| Die Ambivalenz des Gelben und die Kunst des Skandals S Doran Erkenntniswert Farbe, 151-169, 2013 | | 2013 |
| Im Kulminieren zerschellen: Ein Gegenentwurf zum Gesamtkunstwerk in Hans Henny Jahnns Perrudja S Doran “Es ist seit Rahel und erlaubt, Gedanken zu haben”, 207-229, 2012 | | 2012 |
| Writing van Gogh and Francis Bacon, Mayroecker’s New Gesamtkunstwerk S Doran Gegenwartsliteratur 10, 116-138, 2011 | | 2011 |