Research Interests: Media theory and history; historical reception studies; media and cultural identity; Shakespeare across media
William Uricchio is Professor and Director of the MIT Comparative Media Studies Program and professor of Comparative Media History at Utrecht University in the Netherlands. He has held visiting professorships at Stockholm University, the University of Science and Technology of China, the Freie Universität Berlin, and Philips Universität Marburg; and Guggenheim, Fulbright and Humboldt fellowships have supported his research. Uricchio considers the interplay of media technologies into cultural practices, and their role in (re-)constructing representation, knowledge and publics. In part, he researches and develops new histories of 'old' media (early photography, telephony, film, broadcasting, and new media) when they were new. And in part, he investigates the interactions of media cultures and their audiences through research into such areas as peer-to-peer communities and cultural citizenship, media and cultural identity, and historical representation in computer games and reenactments. His most recent books include Media Cultures (2006 Heidelberg), on responses to media in post 9/11 Germany and the US, and We Europeans? Media, Representations, Identities (2008 Chicago). He is currently completing a manuscript on the concept of the televisual from the 17th century to the present.
His website - which includes a full list of his publications - may be found at http://williamuricchio.com.
We Europeans? Media, Representations, Identities (Chicago: University of Chicago Press; Bristol: Intellect Press, 2008)
Media Cultures
Co-edited with Susanne Kinnebrock
Heidelberg: Universitätsverlag Winter, 2006
Media, Simultaneity, Convergence: Culture and Technology in an Age of Intermediality
Monograph. Utrecht: Universiteit Utrecht, 1997
Reframing Culture: The Case of the Vitagraph Quality Films
With R.E. Pearson
Princeton, NJ: Princeton University Press, 1993
http://www.amazon.com/exec/obidos/ASIN/0691021171/
Die Anfänge des deutschen Fernsehens: Kritische Annäherungen an die Entwicklung bis 1945
Tubingen: Max Niemeyer Verlag, 1991
The Many Lives of the Batman: Critical Approaches to a Superhero and His Media
Co-edited with R.E. Pearson
New York: Routledge, Chapman & Hall; London: The British Film Institute, 1991
http://www.amazon.com/exec/obidos/tg/detail/-/0415903475/
Parts of Books
“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, forthcoming)
“The Algorithmic Turn: Photosynth, Augmented Reality and the Changing Implications of the Image” in Gorin Bolin, TechnoCult (London: Routledge, forthcoming)
“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.
“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.
“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.
“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): 27-40.
“Rethinking the American Century” in Kingsley Bolton and Jan Olsson (eds.): Media, Popular Culture and the American Century (Eastleigh: John Libby, 2010): 363-375.
“New Media Literacies: Technology and Cultural Form” in Kiene Brillenburg Wurth, ed., Animated Writing (Amsterdam: University of Amsterdam Press), forthcoming
“The Future of Television?” in Pelle Snikkars and Patrick Vonderau, ed., The YouTube Reader (London: Wallflower Press, 2009): 24-39
“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.
“Batman’s Gotham CityTM : Style, Ideology and Performance” in Jorn Arhens & Arno Metzner, eds., Comics and the City: Urban space in print, picture and sequence (London: Continuum, 2009): 119-132.
“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.
“Contextualizing the broadcast era: nation, commerce and constraint” in Annals of the American Academy of Political and Social Science, 2009
“Woord vooraf” in Bert Hogenkamp & Herman de Wit, Film en Bioscoop in Utrecht (Amsterdam: Boom, 2009)
“Imag(in)ing the City: Simonides to the Sims” in Andrew Webber, ed., Cities in Transition (London: Wallflower Press, 2008): 102-112
“En sammensatt identitet: Fjernsynets skiftende innretning” in Roel Puijk, ed., Fjernsyn I Digitale Omgivelser (Kristiansand NW: Forlaget, 2008): 51–66
“Media, Representations, Identities” in ed., We Europeans? Media, Representations, Identities (Chicago: University of Chicago Press, 2008): 11-22
“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
“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.
“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
“Culture as Dynamic,” in All That Dutch: International Cultural Politics (Amsterdam: NAi Publishers, 2005): 29-33
“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
“Introduction,” in William Uricchio and Susanne Kinnebrock, eds., Media Cultures (Heidelberg: Universitätsverlag Winter, 2006): 1-14
“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)
“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.
“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)
“The Unstable Text and Some of its Consequences,” in John Fullerton, ed., Screen Culture: History and Textuality (Eastleigh: John Libby, 2004): 161-168.
“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
“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
“Historicizing Media in Transition,” in David Thorburn and Henry Jenkins, eds., Rethinking Media Change: The Aesthetics of Transition (Cambridge: MIT Press, 2003): 23-38
“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
“Old Media as New Media: Television,” in Dan Harries, The New Media Book (London: British Film Institute, 2002): 219-230
“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
“Cultural Studies: una visione d’insieme,” Gian Piero Brunetta, ed., Storia del cinema mondiale: Theorie, strumenti, memorie (Torino: Giulio Einaudi editore, 2001): 541-562
“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
“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.
“Starwars, Videogames, and War,” in J. Schoeman and J. Weerdenburg, eds., Oorlog en de media (Utrecht: Studium Generale, 1999): 85-96.
“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.
“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)
“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.
“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.
“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.
“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.
“L’Italia americana, l’America di Valentino,” in Paola Cristalli, ed., Valentino. Lo schermo della passione (Ancona: Transeuropa Cinegrafie, 1996): 93-98
“Bringing the War Home: Television and the War in Vietnam,” in Joke Kardux, Vietnam Reconsidered (forthcoming)
“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.
“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
“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
“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).
“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.
“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.
“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.
“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.
“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,” “The Many Lives of the Batman,” 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).
“The Kulturfilm: A Brief History of an Early Discursive Practice,” in Paolo Cherchi Usai and Lorenzo Codelli, eds., German Film Before Caligari (Pordenone: Edizioni Biblioteca dell’Immagine, 1990): 356-379.
“Ruttmann nach 1933,” in Walther Ruttmann: Eine Dokumentation, edited by Jeanpaul Goergen. (Berlin: Freunde der Deutschen Kinemathek, 1990): 59-65.
“Kameradschaft” and “Westfront 1918″ in Magill’s Survey of Foreign Cinema, Salem Press: Los Angeles, 1985.
“The Algorithmic Turn: Photosynth, Augmented Reality and the State of the Image” in Visual Studies 26:1 (2011): 25-35.
“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.
“Contextualizing the broadcast era: nation, commerce and constraint” in Annals of the American Academy of Political and Social Science, 625:1 (2009): 60-73.
“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.
“Formierung und Transformation des frühen deutschen Fernsehens,” montage/av Zeitschrift für Theorie & Geschichte audiovisueller Kommunikation 1/2005: 97-115.
“Phantasia and Techné at the Fin-de-Siècle,” Intermédialités: histoire et théorie des arts, des lettres et des techniques (fall 2006)
“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.
”La place de la télévision dans l’horizon d’attente du XIXe siècle,“ Dossiers de l’audiovisuel Nr 112 (2003): 19-22.
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
“Medien des übergangs und ihre Historisierung,” in Archiv für Mediageschichte — Mediale Historiographien 1 (2001): 57-72.
“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
and Pearson, R.E., “Filmvorführer in New York, 1906-1913,” in KINtop: Jahrbuch zur Erforschung des frühen Films 9 (2000): 91-108
“Media and war…beyond propaganda,” Tijdschrift voor Mediageschiedenis 2:2 (1999): 160-169.
“Nation, Taste and Identity: Hollywood remakes of European originals,” Groniek Historisch Tijdschrift 146 (1999): 51-61
“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 http://comcom.kub.nl/e-view/99-1/uric.htm
“Film History at the fin de siecle,” in Iichiko: A Journal for Transdisciplinary Studies of Pratiques 64 [Japan] (1999): 112-123
“De camera obscura, Lady Di, en de leeuwenkooi,” Feit en Fictie 4:2 (1999) 7-15
“Meer dan propaganda. Media in Oorlogstijd,” Kunst en Wetenschap 7:3 (1998) 11-13
“Grensgebieden: feit, fictie en het picturesque in de vroege western,” Tijdschrift voor Literatuurwetenschap 3:2 (1998) 99-109.
“The Trouble With Television,” Screening the Past: An International Electronic Journal of Visual Media and History 4 (1998) http://www.latrobe.edu.au/screeningthepast/firstrelease/fir998/WUfr4b.htm.
“Television, Film, and the Struggle for Media Identity,” Film History, An International Journal 10:2 (1998): 118-127.
“Storage and Simultaneity. Reconsidering 20th century media culture and technology,” De Nieuwste Tijd 9 (1997): 5-12.
“Aktualitaten als Bilder der Zeit,” in KINtop: Jahrbuch zur Erforschung des frühen Films 6 (1997):43-50.
“Det forflutna som prolog. En omprovning av mediahistorien,” Aura Filmvetenskaplig tidskrift 3:3-4 (1977): 6-20.
‘Film’s Fate: a storage medium in a culture of simultaneity,” Impact 1997 Catalogue (1997): 6-8.
“La notte de San Lorenzo,” Groniek Historisch Tijdschrift 139 (1997): 246-248.
“Media, Culture, Education,” PostAV 20 (1997): 14-15.
“Filmgeschiedenis in het fin de siecle,” Jaarboek Mediageschiedenis 8 (1997): 9-32.
“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
“Att forestalla sig publiken –perceptionen av den tidiga tyska televisionens publik, 1935-1944,” Aura Filmvetenskaplig tidskrift 2:4 (1996): 64-74.
“Naar een Nederlandse mediageschiedenis,” Groniek Historisch Tijdschrift 135 (1996): 160-169.
“Cinema’s identity and cultural role,” Cine & Media 17:6 (1996): 3-7.
“Kunst of geen kunst?” Filmkrant 163 (January 1996): 25
“New Media: Learning from the past,” TIC (Trends in Communication) 1:1 (1996)
“Television studies’ shifting disciplinary status: Anglo-American developments,” Nummer: Kunst, Literatur, Theorie 4/5:3 (1996): 114-119.
“Archives and Absences,” Film History, An International Journal 7:3 (1995): 256-263
“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.
“La nuova visione nei film non-fiction delle origini,” Cinegrafie 8 (1995): 22-28
“Cinema als Omweg: Een nieuwe kijk op de geschiedenis van het bewegende beeld,” Skrien 199: 54-57 (1994).
“Il colore e l’articolazione drammatica in ‘The Lonedale Operator’” in Fotogenia: storie e teorie del cinema 1 (1994): 61-70
“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.
“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.
“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.
“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.
“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.
“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.
“The City Re-Viewed: Berlin’s Film Image on the Occasion of its 750th Anniversary,” Film and History, 18:1 (1989): 16-25.
“Il patrimonio rappresentativo dei documentari,” Bianco e Nero, 49:4 (1988): 56-78.
“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)
“Berlin Aussen und Innen,” Kino (Berlin), 17 (1985): 17-24.
“The Motion Picture as a Resource for Industrial Archaeology,” Industrial Archaeology (London) 3 (1981): 233-238+.
21L.432 Understanding Television
21L.706 Studies in Film
21L.715 Media in Cultural Context
CMS.790 Media Theories and Methods I
CMS.801 Media in Transition
CMS.872 Topics in International Media
