BFI  Roberta Pearson, William Uricchio and Will Brooker, eds., Many More Lives of the Batman (London: British Film Institute / Palgrave, 2015)

we europeans William Uricchio, ed., We Europeans? Media, Representations, Identities (Chicago: University of Chicago Press / Bristol: Intellect, 2008)

mediaculturesWilliam Uricchio and Susanne Kinnebrock, eds., Media Cultures (Heidelberg: Universitätsverlag Winter, 2006)

reframingcultureWilliam Uricchio and Pearson, R.E., Reframing Culture: The Case of the Vitagraph Quality Films (Princeton, NJ: Princeton University Press, 1993).

manylivesofthebatmanWilliam Uricchio and Pearson, R.E., The Many Lives of the Batman: Critical Approaches to a Superhero and His Media. (New York: Routledge, Chapman & Hall; London: The British Film Institute, 1991).

Media Simultaneity Convergence 200 dpi low qualityWilliam Uricchio, Media, Simultaneity, Convergence: Culture and Technology in an Age of Intermediality. Monograph (Utrecht: Universiteit Utrecht, 1997)

Deutsches Fernsehen 600 dpi low qualityWilliam Uricchio, Die Anfänge des deutschen Fernsehens: Kritische Annäherungen an die Entwicklung bis 1945. Editor. (Tubingen: Max Niemeyer Verlag, 1991)


(a curated, interactive database of interactive documentaries)

Moments of Innovation (website & installation)

Update or Die: saving unruly media forms … and learning to let go. A report sponsored by the John D and Catherine T MacArthur Foundation and Centre Phi. (forthcoming, 55 pages)

Virtually There: Documentary Meets Virtual Reality. A Report Sponsored by the John D and Catherine T MacArthur Foundation (2016, 32 pages). Principal Investigator W. Uricchio, with S. Wolozin and Boyacioglu.

Mapping the Intersection of Two Cultures: Interactive Documentary and Digital Journalism. A Report Sponsored by the John D and Catherine T MacArthur Foundation (2016, 113 pages); Principal Investigator W. Uricchio, with S. Wolozin, L. Bui, D. Tortum, and S. Flynn.


William Uricchio, “Reassessing the Situation of the Text in the Algorithmic Age” [Th. Weber et al., eds., Hamburg forthcoming]

William Uricchio, “Augmenting Reality: The Markers, Memories, and Meanings Behind Today’s AR” [Verhoeff, Es, eds., Leonardo forthcoming]

William Uricchio, “Media Specificity and its Discontents: A televisual provocation” in Martin Lefebvre & Nicolas Dulac, eds., From Media to Post-Media: Continuities and Ruptures (Paris: Éditions L’Âge d’Homme, forthcoming)

William Uricchio “La télévision et les arts: au-delà de la traduction et de la transmission” in Viva Paci, ed., Une télévision allumée : les arts dans le N/B du tube cathodique (Presses Universitaires de Vincennes (PUV), Collection Média, 2017): 31-48

William Uricchio, “Things to Come: The Possible Futures of Documentary from a Historical Perspective” in Judith Aston, Sandra Gaudenzi & Mandy Rose, i-docs: The Evolving Practices of Interactive Documentary (New York: Wallflower Press, 2017): 191-205.

William Uricchio, “Interactivity and the Modalities of Textual Hacking: From the Bible to Algorithmically Generated Stories” in Sara Pesce & Paolo Nolo, eds., The Politics of Ephemeral Digital Media (London: Routledge, 2016): 155-170.

William Uricchio, “Data, Culture and the Ambivalence of Algorithms” in Mirko Tobias Schäfer and Karin van Es, eds., The Datafied Society: Studying Culture Through Data (Amsterdam: University of Amsterdam Press, 2017): 125-138.

William Uricchio, “Wandering Through the Residues of a Present Past” in Alexandra Sophia Handal, Memory Flows Like the Tide at Dawn (Roskilde: Museet for Samtidskunst, 2016): 1-25.

William Uricchio, “Introduction” in Nico de Klerk, Showing and Telling: Film heritage institutes and their performance of public accountability (Wilmington: Vernon Press, 2017): 1-8.

William Uricchio, “Selling the Motion Picture in fin-de-siecle America” in Nico de Klerk, Bo Florin, Patrick Vonderau, Selling to the Senses (London: BFI/Palgrave Macmillan, 2016): 71-82

William Uricchio, “The Residue of the National: Conditions of Production and the Trans-Atlantic Divide” in Astrid Böger & Christof Decker, eds., Transnational Mediations (Heidelberg: Winter Verlag, 2015): 17-32

William Uricchio, “Replacement, Displacement and the Cultures of Obsolescence” in Baerbel Tischleder and Sarah Wasserman, Cultures of Obsolescence: History, Materiality, and the Digital Age (London: Palgrave Macmillan, 2015): 97-109

William Uricchio, “Contextualizing the Apparatus: Film in the Turn-of-the-Century Sears, Roebuck & Co. Consumers Guide’s Department of Special Public Entertainment Outfits and Supplies” in Giovanna Fossati and Annie van den Oever, eds., Exposing the Film Apparatus: The Film Archive as a Research Laboratory (Amsterdam: University of Amsterdam Press, 2017): 185-197

William Uricchio, “Re-Thinking the Social Documentary” in J. Raessens, S. Lammes & R. Glas, The Playful Citizen: Power, Creativity, Knowledge (Amsterdam: University of Amsterdam Press, forthcoming)

William Uricchio, “Repenser le documentaire social” in Laurence Allard, Laurent Creton, Roger Odin, eds., Téléphone mobile et création (Paris: Armand Colin/Recherches, 2014): 61-80

William Uricchio, “The City Seen: strategies of coherence, evocation and simulation in urban representation” in Tigran Haas, ed., Emerging Urbanism (Surrey: Ashgate Press, 2014): 55-61

William Uricchio, “Things to Come in the American Studies-Media Studies Relationship” in Winfried Fluck, Erik Redling, Sabine Sielke, Hubert Zapf, eds, American Studies Today: New Research Agendas (Heidelberg: Winter Universitätsverlag, 2014): 363-382.

William Uricchio, “Quando la narrazione va la di là dei suoi confini: vecchie abitudini nella nuova era tecnologica,” in Claudio Bisoni & Veronica Innocenti, ed., Media Mutations: Gli ecosistemi narrativi nello scenario mediale contemporaneo. Spazi, modelli, usi sociali (Modena: Mucchi Editore, 2013): 45-56

William Uricchio, “The History of Spreadable Media” in Henry Jenkins, Sam Ford & Joshua Green, Spreadable Media: Creating Value and Meaning in a Networked Culture (New York: New York University Press, 2013)

William Uricchio, “Constructing Television: Thirty years that froze an otherwise dynamic medium,” in Marijke de Valck and Jan Teurlings, eds., After the Break: Television Theory Today (London: Routledge, 2013): 65-78

William Uricchio, “The Recurrent, the Recombinatory and the Ephemeral,” in Paul Grainge, ed., Ephemeral Media: Transitory Screen Culture from Television to YouTube (London: British Film Institute / Palgrave MacMillan, 2011): 23-36

William Uricchio, “The Algorithmic Turn: Photosynth, Augmented Reality and the Changing Implications of the Image,” in Gorin Bolin, ed., TechnoCult (London: Routledge, 2013)

William Uricchio, “European Identity as Palimpsest” in Savas Arslan, D. Karaosmanogle and S. Schroeder, Media, Culture, and Identity (Istanbul: Bahcesehir University Press, 2009): 13-21 translated as “Palimpsest Olarak Avrupa Kimligi” in Savas Arslan, D. Karaosmanogle and S. Schroeder, Avrupa’da Medya, Kultur ve Kimlik (Istanbul: Bahcesehir University Press, 2009): 11-19

William Uricchio, “Nella camera oscura c’e piu di quanto lo sguardo riesca a cogliere” in Elio Girlanda, Il precinema oltre il cinema: Per una nuova storia dei media audiovisivi (Rome: Dino Audino, 2010):10-21.

William Uricchio, “TV as Time Machine: television’s changing heterochronic regimes and the production of history” in Jostein Gripsrud, ed., Relocating Television: Television in the Digital Context (London: Routledge, 2010)

William Uricchio, “Rethinking the American Century” in Kingsley Bolton and Jan Olsson (eds.): Media, Popular Culture and the American Century (Eastleigh: John Libby, 2010) 363-375

William Uricchio, “New Media Literacies: Technology and Cultural Form” in Kiene Brillenburg Wurth, ed., Between Page and Screen: Remaking Literature Through Cinema and Cyberspace (New York: Forham University Press, 2012): 229-240

William Uricchio, “The Future of a Medium Once Known as Television?” in Pelle Snikkars and Patrick Vonderau, ed., The You Tube Reader (London: Wallflower Press, 2009): 24-39

William Uricchio, “Moving Beyond the Artefact: Lessons from participatory culture” in Marianne van den Boomen, et al., eds., Digital Materials (Amsterdam: University of Amsterdam Press, 2009): 135-147.

William Uricchio, “Batman’s Gotham CityTM: Style, Ideology and Performance” in Jorn Arhens & Arno Metzner, eds., Comics and the City (London: Continuum, 2009)

William Uricchio, “Télévision: l’institutionnalisation de l’intermédialité” in Mireille Berton et Anne-Katrin Weber (eds.) La télévision du Téléphonoscope à YouTube. Pour une archéologie de l’audiovision (Lausanne: Éditions Antipodes, 2009): 161-177.

William Uricchio, “Contextualizing the broadcast era: nation, commerce and constraint” in Annals of the American Academy of Political and Social Science, 625: 60-73 (2009)

William Uricchio, “Woord vooraf” in Bert Hogenkamp & Herman de Wit, Film en Bioscoop in Utrecht (Amsterdam: Boom, 2009)

William Uricchio, “Imag(in)ing the City: Simonides to the Sims” in Andrew Webber, ed., Cities in Transition (London: Wallflower Press, 2008): 102-112

William Uricchio, “En sammensatt identitet: Fjernsynets skiftende innretning” in Roel Puijk, ed., Fjernsyn I Digitale Omgivelser (Kristiansand NW: Forlaget, 2008): 51–66

William Uricchio, “Media, Representations, Identities” in William Uricchio, ed., We Europeans? Media, Representations, Identities (Chicago: University of Chicago Press, 2008): 11-22

William Uricchio, “Television’s First Seventy-Five Years: The Interpretive Flexibility of a Medium in Transition,” The Oxford Handbook of Film and Media Studies (Oxford: Oxford University Press, 2008): 286–305

William Uricchio, “The Threat Within: information and security in a time of terror” in Madelon de Keizer and Stephanie Roels, Staat van veiligheid: De Nederlandse samenleving sinds 1900 (Amsterdam: Walberg Pers, 2007): 199-214.

William Uricchio, “Moving beyond the artifact: lessons from participatory culture,” in Yola de Lusenet and Vincent Wintermans, eds., Preserving the Digital Heritage (The Hague: Netherlands National Commission for UNESCO and the European Commission on Preservation and Access, Amsterdam, 2007): 15-25

William Uricchio & Marja Roholl, “From New Deal Propaganda to National Vernacular: Pare Lorentz and the Construction of an American Public Culture,” in Ruud Janssens and Kate Delaney, eds., Over (T)here: Essays in Honour of Rob Kroes [European Contributions to American Studies, Vol 60] (Amsterdam: VU (Free University) Press, 2005): 107-122

William Uricchio, “Culture as Dynamic,” in All That Dutch: International Cultural Politics (Amsterdam: NAi Publishers, 2005): 29-33

William Uricchio, “Redefining Consumers and Citizens: Challenges to American and European Constructions of Culture,” in Rob Kroes and Rudolf Janssens, ed., Post-Cold War Europe, Post- Cold War America [European Contributions to American Studies, Vol 55] (Amsterdam: VU (Free University) Press, 2004): 132-145

William Uricchio, “Introduction,” in William Uricchio and Susanne Kinnebrock, eds., Media Cultures (Heidelberg: Universitätsverlag Winter, 2006): 1-14

William Uricchio, “Peer-to-Peer Communities, Cultural Citizenship, and the Limits of National Discourse” in William Uricchio and Susanne Kinnebrock, eds., Media Cultures (Heidelberg: Universitätsverlag Winter, 2006): 61-88

William Uricchio “Cyberhistory: Historical Computer Games and Post-Structuralist Historiography,” in Jeffrey Goldstein and Joost Raessens, Handbook of Computer Games Studies (Cambridge: MIT Press, 2005): 327-338.

William Uricchio and Roberta Pearson, “Brushing up Shakespeare: relevance and televisual form in Great Britons and In Search of Shakespeare”, in Diana E. Henderson, ed., A Concise Companion to Shakespeare on Screen (Oxford: Blackwell Publishing, 2006): 197-215)

William Uricchio, “Cultural Citizenship in the Age of P2P Networks,” in Ib Bondebjerg and Peter Golding, eds., European Culture and the Media (Bristol: Intellect Press, Ltd, 2004): 139-164.

William Uricchio, “Law and the Cinema” (373-377) and “US Patent Wars” (654-655) in Richard Abel, ed., Routledge Encyclopedia of Early Cinema (New York: Routledge, 2005)

William Uricchio, “The Unstable Text and Some of its Consequences,” in John Fullerton, ed., Screen Culture: History and Textuality (Eastleigh: John Libby, 2004): 161-168.

William Uricchio, “Television’s next generation: technology / interface culture / flow,” in Lynn Spigel and Jan Olsson, eds., Television After TV: Essays on a Medium in Transition, (Durham: Duke, 2004): 232-261

William Uricchio and Roberta Pearson, “’How Many Times Shall Caesar Bleed in Sport’: Shakespeare and the Cultural Debate about Moving Pictures.” Lee Grieveson and Peter Kraemer, eds., Silent Cinema Reader (London: Routledge, 2004): 145-155

William Uricchio, “Zaznam, simultaneita a medialni technologie modernity,” in Petr Szczepanik, ed., Nova Filmova Historie: Antyologie soucasneho mysleni o dejinach kinematografie a ausiovizualni kultury (Praha: Nakladatelstvi Herrmann & synove, 2004): 452-471

William Uricchio and Marja Roholl, “From New Deal Propaganda to National Vernacular: Pare Lorentz and the Construction of an American Public Culture,” in Peter Zimmermann and Kay Hoffmann, eds., Triumph der Bilder: Kultur- und Dokumentarfilme vor 1945 im internationalen Vergleich (Konstanz: UVK Verlagsges., 2003): 155-173

William Uricchio, “Historicizing Media in Transition,” in David Thorburn and Henry Jenkins, eds., Rethinking Media Change: The Aesthetics of Transition (Cambridge: MIT Press, 2003): 23-38

William Uricchio, “There’s More to the Camera’s Obscura Than Meets the Eye,” in Francois Albera, Marta Braun, and Andre Gaudreault, eds., Arrêt sur image et fragmentation du temps / Stop Motion, Fragmentation of Time (Lausanne: Cinema Editions Payot, 2002): 103-120

William Uricchio, “Old Media as New Media: Television,” in Dan Harries, The New Media Book (London: British Film Institute, 2002): 219-230

William Uricchio, “Medien, Simultaneität, Konvergenz. Kultur und Technologie im Zeitalter von Intermedialität,” in R. Adelmann, J.-O. Hesse, J. Keilbach, M. Stauff, M. Thiele, eds., Grundlagentexte zur Fernsehwissenschaft (Cologne: UVK Verlagsgesellschaft, 2002): 281-310

William Uricchio, “Cultural Studies: una visione d’insieme,” Gian Piero Brunetta, ed., Storia del cinema mondiale: Theorie, strumenti, memorie (Torino: Giulio Einaudi editore, 2001): 541-562

William Uricchio, “Intermedial Challenges to Television’s Definition,” in Ib Bondebjerg and Helle Haastrup, eds., Intertextuality &Visual Media [Sekvens 99: Arborg for Film- & Medievidenskab 1999] (Copenhagen: IFM, 1999): 171-183

William Uricchio, “Panoramic Visions: stasis, movement, and the redefinition of the panorama,” in L. Quaresima, A. Raengo, L. Vichi, eds., La nascita dei generi cinematografici / The Birth of Film Genres (Udine: Forum, 1999): 125-133

William Uricchio and Pearson, R.E., “’The Formative and Impressionable Stage’: Discursive constructions of the nickelodeon’s child audience,” in Richard Maltby and Melvyn Stokes, eds., American Movie Audiences: from the Turn of the Century to the Early Sound Era, (London: BFI, 1999): 64-79.

William Uricchio, “Starwars, Videogames, and War,” in J. Schoeman and J. Weerdenburg, eds., Oorlog en de media (Utrecht: Studium Generale, 1999): 85-96.

William Uricchio, “Storage, simultaneity, and the media technologies of modernity” in Jan Olsson and John Fullerton, eds., Allegories of Communication: Intermedial Concerns from Cinema to the Digital, (Eastleigh: John Libbey, 2004): 123- 138; reprinted in A. Herzog, L. Nijenhof, N. Noorman, N. Vink, What’s New? Essays over het belang van de nieuwe media voor de beeldende kunst (Groningen: Academie Minerva, 1999): 33-51.

William Uricchio and Pearson, R.E., “Criminality, Corruption, and the Moving Pictures,” in H. Jenkins and J. Shattuck, eds., Hop on Pop: The Dawn of New Cultural Studies (Durham: Duke University Press, 2003): 378-390. Reprinted in John Fullerton, ed., Celebrating 1895: the Centenary of Cinema (London: John Libby, 1998): 82-95.

William Uricchio, “La formazione dei pubblici,” in G. P. Brunetta, ed., Storia del Cinema I (Torino: Giulio Einaudi Editore, 2000): PAGES

William Uricchio and Pearson, R.E., “Projecting Images: New York City’s Motion Picture Operators and the Idea of Cinema History,” in A. Lant, I. Cahan, A. Griffiths The Movies Begin in New York (Minneapolis: University of Minnesota Press, forthcoming)

William Uricchio, “Film Studies: Anglo-amerikanische Methoden der Filmforschung,” in H-M. Bock, W. Jacobsen, (Hg.), Recherche: Film. Quellen und Methoden der Filmforschung (Munchen: Edition text + kritik, 1997): 109-119.

William Uricchio, “Cinema as Detour? Towards a reconsideration of moving image technology in the late 19th century,” in K. Hickethier, E. Muller, R. Rother, (Hg.), Der Film in der Geschichte (Berlin: Edition Sigma, 1997): 19-25.

William Uricchio, “Television studies shifting disciplinary status: Anglo-American developments,” in H. Schanze and P. Ludes (Hrsg)., Qualitative Perspektiven des Medienwandels: Positionen der Medienwissenschaft im Kontext ‘Neuer Medien’ (Opladen: Westdeutscher Verlag, 1997): 80-94.

William Uricchio, “Reflections on Color: The Possibilities for Dramatic Articulation in The Lonedale Operator,” in M. Dall’Asta, G. Pescatore, L. Quaresma, Il Colore nel Cinema Muto (Bologna: Mano Edizioni, 1996): 191-198.

William Uricchio, “L’Italia americana, l’America di Valentino,” in Paola Cristalli, ed., Valentino. Lo schermo della passione (Ancona: Transeuropa Cinegrafie, 1996): 93-98

William Uricchio, “Bringing the War Home: Television and the War in Vietnam,” in Joke Kardux, Vietnam Reconsidered (forthcoming)

William Uricchio, “Ways of Seeing: the new vision of early non-fiction film,” in Daan Hertogs and Nico de Klerk, eds., Uncharted Territory: Essays on nonfiction film (Amsterdam: Stichting Nederlands Filmuseum, 1997): 119-131.

William Uricchio, “Displacing Culture: trans-national culture, regional elites, and the challenge to national cinema,” A. van Hemel, H. Mommas, C. Smithuijsen, eds., Trading Culture: GATT, European cultural policies and the transatlantic market (Amsterdam: Boekmanstichting, 1996): 67-82

William Uricchio and Pearson, R.E., “Dante’s Inferno and Caesar’s Ghost: Intertextuality and Conditions of Reception in Early American Cinema,” in Richard Abel, ed., Silent Film (New Brunswick: Rutgers University Press, 1996): 217-233

William Uricchio, “Motives, Models and Recommendations for Film Historical Research,” in H.B.M. Wijfjes & J.C.H. Blom, eds., Mediageschiedenis: kansen en perspectieven (Amsterdam: Koninklijke Nederlandse Akademie van Wetenschappen, 1995): 115-128

William Uricchio and Pearson, R.E., “Shakespeare and the Italian Spectacular Tradition,” in Roland Cosandey, ed., Cinema sans frontieres, 1896-1918 / Images Across Borders (Lausanne: Editions Paytot Lausanne, 1995): 95-105

William Uricchio, “The First World War and the Crisis in Europe,” in Geoffrey Nowell-Smith, ed., A History of the Cinema, 1885-1995 (Oxford: Oxford University Press, 1996): 62-70.

William Uricchio and Pearson, R.E., “Literary Masterpieces, Biblical Blockbusters and Historical Epics: Intertextuality and the Vitagraph Quality Films,” in P. C. Usai and C. Musser, eds., American Vitagraph, (Washington, D.C.: Smithsonian Institution Press, forthcoming).

William Uricchio, “The Past as Prologue? The Kulturfilm Before 1945,” in Heinz-B. Heller and Peter Zimmermann, eds., Blicke in die Welt: Reportagen und Magazine des nordwestdeutschen Fernsehens in den 50er und 60er Jahren (Konstanz: Verlag Oelschlaeger, 1995): 263-287.

William Uricchio, “The City Viewed: The Films of Leyda, Browning, and Weinberg,” in Jan-Christopher Horak, ed., Lovers of Cinema: the first American avant-garde, 1919-1945 (Madison: University of Wisconsin Press, 1995): 287-314.

William Uricchio, “Cinema and the Dark Side of Utopia,” in K. Ruigrok, ed., De Utopieen van de Twintigste Eeuw (Utrecht: Studium Generale, 1995): 19-26.

William Uricchio and Pearson, R.E., “‘Shrieking From Below the Grating:’ Sir Herbert Beerbohm Tree’s Macbeth and His Critics,” in A. J. Hoenselaars, ed., Reclamations of Shakespeare (Amsterdam and Atlanta GA: Rodopi, 1994): 249-271.

William Uricchio and Pearson, R.E., “The Bard in Brooklyn: Vitagraph’s Shakespearean Productions,” in Olwen Terris and Luke McKernan, eds., Walking Shadows: Shakespeare and the National Film Archive (London: British Film Institute, 1993): 201-206.

William Uricchio, “Television as History: Representations of German Television Broadcasting, 1935-1944,” in Framing the Past: The Historiography of German Cinema and Television, edited by Bruce Murray and Christopher Wickham (Carbondale: Southern Illinois University Press, 1992): 167-196.

William Uricchio and Pearson, R.E., “‘You Can Make The Life of Moses Your Lifesaver:’ Vitagraph’s Biblical Blockbuster,” in Un Invention du Diable? Cinema des Premiers Temps et Religion (An Invention of the Devil? Religion and Early Cinema), R. Cosandey, A. Gaudreault, T. Gunning, eds. (Sainte-Foy: Les Presses de l’Universite Laval and Lausanne: Editions Payot Lausanne, 1992), pp. 197-211.

William Uricchio, “Einleitung,” “Fernsehen als Geschichte: Die Darstellung des deutschen Fernsehens zwischen 1935 und 1944,” and “BIOS Endbericht # 867: Fernsehentwicklung und Anwendung in Deutschland,” in W. Uricchio, ed., Die Anfange des deutschen Fernsehens: Kritische Annaherungen an die Entwicklung bis 1945 (Tubingen: Max Niemeyer Verlag, 1991).

William Uricchio and Pearson, R.E., “Introduction,” “I’m Not Fooled By That Cheap Disguise,” and “Interview with Denny O’Neil,” in W. Uricchio and R. Pearson, The Many Lives of the Batman: Critical Approaches to a Superhero and His Media (New York: Routledge, Chapman & Hall; London: The British Film Institute, 1991).

William Uricchio, “The Kulturfilm: A Brief History of an Early Discursive Practice” German Film Before Caligari in Paolo Cherchi Usai and Lorenzo Codelli, eds., (Pordenone: Edizioni Biblioteca dell’Immagine, 1990): 356-379.

William Uricchio, “Ruttmann nach 1933,” in Walther Ruttmann: Eine Dokumentation, edited by Jeanpaul Goergen. (Berlin: Freunde der Deutschen Kinemathek, 1990): 59-65.

William Uricchio, “Kameradschaft” and “Westfront 1918” in Magill’s Survey of Foreign Cinema, Salem Press: Los Angeles, 1985.


William Uricchio, “Virtual Reality: Between hope, hype, humbug”, Los Angeles Review of Books (25 June 2018)

William Uricchio, “VR is Not Film. So What Is It?Immerse (November 8, 2016)

William Uricchio, “Recommended for You: Prediction, Creation and the Cultural Work of Algorithms,” The Berlin Journal 28 (Spring 2015): 6-9

William Uricchio, “Film, cinema, television … media?” The New Review of Film and Television 12:3 (2014): 266-279

William Uricchio, “History and Its Shadow: thinking about the contours of absence” Screen 55:1(2014):119-127

William Uricchio, “True Confessions: WikiLeaks, Contested Truths, and Narrative Containment” International Journal of Communication 8 (2014): 2567-2573

William Uricchio, “The Greatest Art Form of the Twentieth Century” Journal of Visual Studies 13:1 (2014): 104-106

William Uricchio, “A Palimpsest of Place and Past: Location-based digital technologies and the performance of urban space and memory,” Performance Research 17:3 (2012): 45-49

William Uricchio, “The Algorithmic Turn: Photosynth, Augmented Reality and the State of the Image” in Visual Studies 26 (2011): 25-35

William Uricchio, “A ‘Proper Point of View’: the panorama and some of its early media iterations” in The Journal of Early Popular Visual Culture 9:3 (2011); 225-238

William Uricchio, “Contextualizing the broadcast era: nation, commerce and constraint” in Annals of the American Academy of Political and Social Science, 625:1 (2009): 60-73

William Uricchio, “Formierung und Transformation des frühen deutschen Fernsehens,” montage/av Zeitschrift für Theorie & Geschichte audiovisueller Kommunikation 1/2005: 97-115.

William Uricchio, “Phantasia and Techné at the Fin-de-Siècle,” Intermédialités: histoire et théorie des arts, des lettres et des techniques Nr. 6 (fall 2005): 27-42

William Uricchio, “Televize jakohistorie. Nemecke televizni vysilani v letech 1935-1944 a dejiny jeho reprezentai,” Illuminace: Casopis pro teorii, historii a estetiku filmu 4 (2005): 5-26.

William Uricchio, “Beyond the Great Divide: collaborative networks and the challenge to dominant conceptions of creative industries,” The International Journal of Cultural Studies 7:1 (2004): 79-90.

William Uricchio, ”La place de la télévision dans l’horizon d’attente du XIXe siècle,“ Dossiers de l’audiovisuel Nr 112 (2003): 19-22.

William Uricchio, “La reve de la simultanéité,” Dossiers de l’audiovisuel Nr 112 (2003): 35-37.

William Uricchio and Roberta Pearson, “Projecting Images: New York City’s Motion Picture Operators and the Idea of Cinema History,” The Moving Image: Journal of the Association of Moving Image Archivists 2 :2 (2002) : 73-93

William Uricchio, “Medien des übergangs und ihre Historisierung,” in Archiv für Mediageschichte — Mediale Historiographien 1 (2001): 57-72.

William Uricchio, “Reflections on a Forgotten Past: Early German Television as a History of Absences” in TeleVisionen. Historiografien des Fernsehens,” Oesterreichische Zeitschrift für Geschichtswissenschaften 12: 4 (2001): 42 -59.

William Uricchio and Roberta Pearson, “Celluloid Shakespeare and the Complexities of Cultural Meaning,” in Jostein Gripsrud, ed., Kulturstudier nr. 19: The Aesthetics of Popular Art (2001): 91-114

William Uricchio, and Pearson, R.E., “Filmvorführer in New York, 1906-1913,” in KINtop: Jahrbuch zur Erforschung des frühen Films 9 (2000): 91-108

William Uricchio, “Media and war…beyond propaganda,” Tijdschrift voor Mediageschiedenis 2:2 (1999): 160-169.

William Uricchio, “Nation, Taste and Identity: Hollywood remakes of European originals,” Groniek Historisch Tijdschrift 146 (1999): 51-61

William Uricchio, “Envisioning the Audience: perceptions of early German television’s public, 1935-1944” in E-VIEW: een elektronisch magazine over theater, film, televisie & digitale media (1999) 1:1

William Uricchio, “Film History at the fin de siecle,” in Iichiko: A Journal for Transdisciplinary Studies of Pratiques 64 [Japan] (1999): 112-123

William Uricchio, “De camera obscura, Lady Di, en de leeuwenkooi,” Feit en Fictie 4:2 (1999) 7-15

William Uricchio, “Meer dan propaganda. Media in Oorlogstijd,” Kunst en Wetenschap 7:3 (1998) 11-13

William Uricchio, “Grensgebieden: feit, fictie en het picturesque in de vroege western,” Tijdschrift voor Literatuurwetenschap 3:2 (1998) 99-109.

William Uricchio, “The Trouble With Television,” Screening the Past: An International Electronic Journal of Visual Media and History 4 (1998)

William Uricchio, “Television, Film, and the Struggle for Media Identity,” Film History, An International Journal 10:2 (1998): 118-127.

William Uricchio, “Storage and Simultaneity. Reconsidering 20th century media culture and technology,” De Nieuwste Tijd 9 (1997): 5-12.

William Uricchio, “Aktualitaten als Bilder der Zeit,” in KINtop: Jahrbuch zur Erforschung des frühen Films 6 (1997):43-50.

William Uricchio, “Det forflutna som prolog. En omprovning av mediahistorien,” Aura Filmvetenskaplig tidskrift 3:3-4 (1977): 6-20.

William Uricchio, ‘Film’s Fate: a storage medium in a culture of simultaneity,” Impact 1997 Catalogue (1997): 6-8.

William Uricchio, “La notte de San Lorenzo,” Groniek Historisch Tijdschrift 139 (1997): 246-248.

William Uricchio, “Media, Culture, Education,” PostAV 20 (1997): 14-15.

William Uricchio, “Filmgeschiedenis in het fin de siecle,” Jaarboek Mediageschiedenis 8 (1997): 9-32.

William Uricchio, “Vom Wohnzimmer zum Desktop. Eine medienwissenschaftliche Perspective,” montage/av Zeitschrift für Theorie & Geschichte audiovisueller Kommunikation 6:1 (1997): 114-118.

William Uricchio and Pearson, R.E., “New York? New York! William Uricchio and Roberta E. Pearson comment on the Singer-Allen Exchange” Cinema Journal 36:4 (1997): 98-102

William Uricchio, “Att forestalla sig publiken –perceptionen av den tidiga tyska televisionens publik, 1935-1944,” Aura Filmvetenskaplig tidskrift 2:4 (1996): 64-74.

William Uricchio, “Naar een Nederlandse mediageschiedenis,” Groniek Historisch Tijdschrift 135 (1996): 160-169.

William Uricchio, “Cinema’s identity and cultural role,” Cine & Media 17:6 (1996): 3-7.

William Uricchio, “Kunst of geen kunst?” Filmkrant 163 (January 1996): 25

William Uricchio, “New Media: Learning from the past,” TIC (Trends in Communication) 1:1 (1996)

William Uricchio, “Television studies’ shifting disciplinary status: Anglo-American developments,” Nummer: Kunst, Literatur, Theorie 4/5:3 (1996): 114-119.

William Uricchio, “Archives and Absences,” Film History, An International Journal 7:3 (1995): 256-263

William Uricchio, “Le film de non-fiction francais et le marche neerlandais: etude de cas preliminaire des films importes en 1912 par Jean Desmet,” with Ester Rutten 1895 18 (1995): 223-234.

William Uricchio, “La nuova visione nei film non-fiction delle origini,” Cinegrafie 8 (1995): 22-28

William Uricchio, “Cinema als Omweg: Een nieuwe kijk op de geschiedenis van het bewegende beeld,” Skrien 199: 54-57 (1994).

William Uricchio, “Il colore e l’articolazione drammatica in ‘The Lonedale Operator'” in Fotogenia: storie e teorie del cinema 1 (1994): 61-70

William Uricchio, “Agency or Ambivalence? Film Practice from Right to Center,” Zeitschrift für Literaturwissenschaft und Linguistik 95 (1994): 107-122

William Uricchio and Pearson, R.E., “Constructing the Mass Audience: Competing Discourses of Morality and Rationalization in the Nickelodeon Period,” Iris 17 (1994): 43-54.

William Uricchio, “An Image Empire Remembered: UFA Between Memory and History,” The Historical Journal of Film, Radio and Television, 13:2 (1993): 229-235.

William Uricchio and Pearson, R.E., “‘Who is Francesca da Rimini?’ Issues of Historical Reception,” Cinemas: Journal of Film Studies 2:2-3 (1992): 33-56.

William Uricchio, “Early German Television and the New Europe: The Case of Fernsehsender Paris,” Working Papers in Cultural Studies 26 (Cambridge, MA: Massachusetts Institute of Technology, 1991) 35pp.

William Uricchio and Pearson, R.E., “‘What is a Miracle?’ The Competing Discourses of the Natural and Supernatural in The Life of Moses,” RSSI (Recherches Semiotiques/ Semiotic Inquiry) 11:2-3 (1991): 9-23.

William Uricchio and Pearson, R.E., “‘How to be a Stage Napoleon:’ Vitagraph’s Vision of History,” Persistence of Vision 9 (1991): 75-89.

William Uricchio, “High-definition Television, Big Screen Television and Television-guided Missiles: British Intelligence Objectives Sub-Committee Report # 867,Historical Journal of Film, Radio and Television, 10:3 (1990): 339-343.

William Uricchio and Pearson, R.E., “How Many Times Shall Caesar Bleed in Sport: Shakespeare and the Cultural Debate About Motion Pictures,” Screen, 31:3 (1990): 243-261.

William Uricchio, “Introduction to the History of German Television, 1935-1944,” Historical Journal of Film, Radio and Television, 10:2 (1990): 115-122.

William Uricchio and Pearson, R.E., “Dante’s Inferno and Caesar’s Ghost: Intertextuality and Conditions of Reception in the Early American Cinema,” Journal of Mass Communication Inquiry, 14:2 (1990): 71-85.

William Uricchio, “Rituals of Reception, Patterns of Neglect: Nazi Television and its Historical Representation,” Wide Angle, 11:1 (1989): 48-66.

William Uricchio and Pearson, R.E., “‘Films of Quality’ ‘High Art Films’ and ‘Films de Luxe’: Intertextuality and Reading Positions in the Vitagraph Films,” The Journal of Film and Video, 41:4 (1989): 15-31.

William Uricchio, “The City Re-Viewed: Berlin’s Film Image on the Occasion of its 750th Anniversary,” Film and History, 18:1 (1989): 16-25.

William Uricchio, “Il patrimonio rappresentativo dei documentari,” Bianco e Nero, 49:4 (1988): 56-78.

William Uricchio, “German University Dissertations With Motion Picture Related Topics, 1910-1945,” Historical Journal of Film, Radio and Television, 7:2 (1987): 175-198; reprinted with modifications as “Doktorarbeiten and Film in Germany: An Overview and Catalogue,” Film Theory (Munster) Numbers 14-17 (1987): 131-161.

William Uricchio and Winston, B., “The Anniversary Stakes,” co-authored with Brian Winston, Sight and Sound, 55:4 (1986)

William Uricchio, “Berlin Aussen und Innen,” Kino (Berlin), 17 (1985): 17-24.

William Uricchio, “The Motion Picture as a Resource for Industrial Archaeology,” Industrial Archaeology (London) 3 (1981): 233-238+.

Other publications include book reviews (for among others Screening the Past, Intensities, Blimp, Tijdschrift voor Mediageschiedenis, Boekman Cahiers, Historical Journal of Film, Radio and Television, Medienwissenschaft-Rezensionen), miscellaneous scholarly and governmental reports and evaluations, daily newspaper essays, and editorial

%d bloggers like this: