Aigner, Carl. “Im Lichte des Zufalls – Geschwindigkeit als ästhetische Konstruktion,” Eikon. International Magazine for Photography and Media Art, no. 29 (1999), pp. 70–73.

Albera, François and Maria Tortajada (eds.). Cine-Dispositives. Essays in Epistemology Across Media (Amsterdam: Amsterdam University Press, 2015).

Albera, François and Maria Tortajada. “Le dispositif n’existe pas!,” in Ciné-dispositifs. Spectacles, cinéma, television, literature, eds. François Albera and Maria Tortajada (Lausanne: L’Age d’Homme, 2011), pp. 13­–38.

Anderson, Laurie, et al. Rosa Barba: Time as Perspective (Ostfildern: Hatje Cantz, 2013).

Bachler, Thomas and Panhans-Bühler, Ursula. Thomas Bachler – Arbeiten mit der Camera Obscura/Pinhole Exhibits (Kassel: Lindemanns Verlag, 2001).

Baker, George. “Photography’s Expanded Field,” October, no. 114 (Fall 2005), pp. 120–140.

Balsom, Erika. After Uniqueness. A History of Film and Video Art in Circulation (New York: Columbia University Press, 2017).

Balsom, Erika. “A Pilgrimage to the Peloponnese: Gregory Markopoulos, Eniaios and the Temenos,” in Lola, No. 3, 2012,

Balsom, Erika. Exhibiting Cinema in Contemporary Art (Amsterdam: Amsterdam University Press, 2013).

Barthes, Roland. “The Third Meaning,” in Image, Music, Text (New York: Hill and Wang, 1977), pp. 52-68.

Baudry, Jean-Louis. “The Apparatus: Metapsychological Approaches to the Impression of Reality in the Cinema,” in Narrative, Apparatus, Ideology, ed. Philip Rosen. Translated by Jean Andrews and Bertrand Augst (New York: Columbia University Press, 1986), pp. 299–318.

Bazin, André. “The Ontology of the Photographic Image,” in What is Cinema? Volume 1 (Berkeley: University of California Press, 1967).

Beckman, Karen. “Impossible Spaces and Philosophical Toys: An Interview with Zoe Beloff,” Grey Room, no. 22 (Winter 2005), pp. 68–85.

Beckman, Karen and Ma, Jean (eds.). Still Moving. Between Cinema and Photography (Durham: Duke University Press, 2008).

Bellenbaum, Rainer and Buchmann, Sabeth. “Necessity as Option. On Conceptual Procedures in the Work of Morgan Fisher,” in Morgan Fisher. Two Exhibitions, eds. Sabine Folie for Generali Foundation (Vienna: Walther König, 2012), pp. 207–216.

Belloï, Livio. “Gustav Deutsch, Visual Thinker,” in Film Unframed. A History of Austrian Avant-Garde Cinema, ed. Peter Tscherkassky (Vienna: FilmmuseumSynemaPublikationen, 2012), pp. 233–244.

Belton, John. “The Origins of 35mm Film as a Standard,” SMPTE Journal (August 1990), pp. 652–661.

Bertozzi, Marco. “Le Désir du Figural: Anonimatografo et Acinéma,” in Paolo Gioli: The Man Without a Movie Camera, eds. Alessandro Bordina and Antonio Somaini (Milan: Mimesis International, 2014).

Bigourdan, Jean-Louis. “From the Nitrate Experience to New Film Preservation Strategies,” in This Film is Dangerous. A Celebration of Nitrate Film, ed. Roger Smither (Brussels: FIAF, 2002), pp. 52–73.

Birtwistle, Andy. Cinesonica. Sounding Film and Video (Manchester: Manchester University Press, 2010).

Bliss, Lauren. Second Nature: On the Experimental Work of Richard Touhy, 2016,

Bloemheuvel, Marente and Guldemond, Jaap (eds.). Celluloid: Tacita Dean, João Maria Gusmão & Pedro Paiva, Rosa Barba, Sandra Gibson & Luis Recoder (Amsterdam: EYE Filmmuseum, nai010 publishers, 2016).

Bohnen, Uli. “Between and Across the Media, Naturally!,” in Who’s Afraid of Blue, Red and Green? (Salzburg: Günther Selichar, 1993/94).

Bolt, Barbara. “Introduction,” in Carnal Knowledge. Towards a “New Materialism” through the Arts, eds. Estelle Barrett and Barbara Bolt (London: I.B. Tauris, 2013), pp. 1–13.

Bordwell, David. “Paolo Gioli’s Vertical Cinema,” David Bordwell’s Website on Cinema (2009),

Bordwell, David. “Paolo Gioli, Maximal Minimalist”,

Böser, Ursula. “Inscriptions of Light and the ‘Calligraphy of Decay’: Volatile Representation in Bill Morrison’s Decasia,” in Avant-Garde Film, eds. Alexander Graf and Dietrich Scheunemann (Amsterdam, New York: Rodopi, 2007), pp. 305–320.

Brainin-Donnenberg, Wilbirg and Loebenstein, Michael (eds.). Gustav Deutsch (Vienna: Synema, 2009).

Bredekamp, Horst. Theorie des Bildakts (Berlin: Suhrkamp, 2010).

Broomer, Stephen. “Alexandre Larose: The Lost Steps,” Blackflash (December 26, 2016),

Bruno, Giuliana. Surface. Matters of Aesthetics, Materiality, and Media (Chicago and London: University of Chicago Press, 2014).

Buchloh, Benjamin H. D. “Gerhard Richter’s ‘Atlas’: The Anomic Archive,” October, no. 88 (Spring 1999), pp. 117–145.

Campany, David. “Photography, Encore.” An essay written for the book Time Present: Photography from the Deutsche Bank Collection (2014),, (accessed on Jan. 26, 2019).

Castro, Fernando. “Aliento,” in Óscar Muñoz, catalog for the exhibition November 13, 2009 – January 17, 2010, eds. Ingrid Fischer-Schreiber and Genoveva Rückert (Linz: OK Offenes Kulturhaus Oberösterreich, 2008).

Chare, Nicholas and Liz Watkins. “The Material of Film: Decasia and Lyrical Nitrate,” in Carnal Knowledge. Towards a „New Materialism” through the Arts, eds. Estelle Barrett and Barbara Bolt (London: Tauris, 2013), pp. 75–87.

Cherchi Usai, Paolo. “An Epiphany of Nitrate,” in This Film is Dangerous. A Celebration of Nitrate Film, ed. Roger Smither (Bruxelles: FIAF, 2002), pp. 128–131.

Cherchi Usai, Paolo. The Death of Cinema. History, Cultural Memory and the Digital Dark Age (London: British Film Institute, 2001).

Churner, Rachel. “Marco Breuer,” Artforum (November 2007), p. 370.

Cordier, Pierre. “Chemigram: A New Approach to Lensless Photography,” in Leonardo 15, 4 (1982), pp. 262–268,

Curtis, David. Experimental Cinema: A Fifty Year Evolution (London: Studio Vista, 1971).

Daniels, Dieter and Schmidt, Barbara U. (eds.). Artists as Inventors. Inventors as Artists (Ostfildern: Hatje Cantz, 2008).

Dean, Tacita. “FILM,” in Catalogue for the exhibition FILM, 11 October 2011 – 11 March 2012 (London: Tate Publishing, 2011).

Delpeut, Peter. “An Unexpected Reception: Lyrical Nitrate Between Film History and Art,” in Found Footage: Cinema Exposed, eds. Marente Bloemheuvel, Giovanna Fossati, Jaap Guldemond (Amsterdam: Amsterdam University Press and EYE Film Institute Netherlands, 2012), pp. 217–224.

Deutsch, Gustav and Schimek, Hanna. Shirley – Visions of Reality (Nürnberg: Verlag für moderne Kunst Nürnberg, 2013).

Dietrich, Gunther and Rodríguez, Tomás (eds.). Concrete Photography/Generative Photography (Berlin: Photo Edition Berlin, 2016).

Dillon, Brian. “At the MK.” London Review of Books, March 2011,

Doswald, Christoph. “Who's Afraid of Blue, Red and Green?,” in Abstraction Now, eds. Künstlerhaus Wien, Sandro Droschl and Norbert Pfaffenbichler (Graz: Edition Camera Austria, 2004).

Druckery, Timothy. “Missing Links,” Eikon. International Magazine for Photography and Media Art, no. 29 (1999), p.4.

Dubois, Philippe. Der fotografische Akt. Versuch über ein theoretisches Dispositiv (Amsterdam, Dresden: Verlag der Kunst, 1998).

Duckhouse, Rory. “F&D Cartier, Wait and See: A Retrospective, Ffotogallery, Cardiff, 22 June – 27 July 2013,”

Durant, Marc Alice. Interview with Marco Breuer,

Egging, Björn. Subjective Rationality on Karl Martin Holzhäuser's Pictorial Worlds

Elcott, Noam M. Artificial Darkness. An Obscure History of Modern Art and Media (Chicago and London: University of Chicago Press, 2016).

Elcott, Noam M. “The Cinematic Imaginary and the Photographic Fact: Media as Models for 20th Century Art,” PhotoResearcher, no. 29 (2018), pp. 7–23.

Elcott, Noam M. “The Phantasmagoric Dispositif: An Assembly of Bodies and Images in Real Time and Space,” Grey Room, no. 62 (2016), pp. 42–71.

Elsaesser, Thomas. Film History as Media Archaeology. Tracking Digital Cinema (Amsterdam: Amsterdam University Press, 2016).

Elsaesser, Thomas. “Media Archaeology as Symptom,” New Review of Film and Television Studies 14, no. 2 (2016): pp. 181–215.

Enright, Robert. “The Darkroom Alchemy of Alison Rossiter,” Border Crossings, 119 (2011), pp. 69–79.

Felleman, Susan. “Coda: Returning the Favor (A Short History of Film Becoming Sculpture),” in Steven Jacobs, Susan Felleman, Vito Adriaensens, and Lisa Colpaert, Screening Statues: Sculpture and Cinema (Edinburgh: Edinburgh University Press, 2017), pp. 156–167 (download here).

Fetveit, Arild. “Convergence By Means of Globalized Remediation,” Northern Lights 5 (2007): pp. 57–74.

Fisher, Andrew. “On the Scales of Photographic Abstraction,” Photographies, vol. 9, no. 2 (2016), pp. 203–215.

Fossati, Giovanna. From Grain to Pixel. The Archival Life of Film in Transition (Amsterdam: Amsterdam University Press, 2009).

Freeman, Sarah. “Technical Notes,” in Light, Paper, Process. Reinventing Photography, ed. Virginia Heckert (Los Angeles: Getty Publications, 2015), pp. 20–21.

Gaudreault, André. Film and Attraction. From Kinematography to Cinema, trans. Timothy Barnard (Champaigne, IL: University of Illinois Press, 2011).

Geimer, Peter. “Image as Trace: Speculations about an Undead Paradigm,” Differences: A Journal of Feminist Cultural Studies 18, 1 (2007), pp. 8­–27.

Gibson, Sandra and Recoder, Luis. Light Spill, ed. Elena Gorfinkel, exh. cat., Art History Gallery (Milwaukee, WI: University of Wisconsin-Milwaukee, 2011).

Gidal, Peter. Materialist Film (London and New York: Routledge, 1989).

Gilbert, Annette. “Quickpieces. Zu den Filmmitschriften des Künstler-Archivars Vadim Zakharov,” in Schreiben als Ereignis. Künste und Kulturen der Schrift, eds. Jutta Müller-Tamm et al. (Paderborn: Fink, in press).

Goldbach, Philipp. Read Only Memory, with texts by Jörg Daur and Steffen Siegel (Wiesbaden: Museum Wiesbaden, 2014).

Gorfinkel, Elena. “At the End of Cinema, This Thing Called Film.” Lola 1, 1 (2011). This text appeared in the catalog of Sandra Gibson and Luis Recoder, Light Spill, curated by Elena Gorfinkel, Art History Gallery, University of Wisconsin – Milwaukee, 27 January – 10 February 2011,

Grönberg, Cecilia. “Byrne’s Maelstrom.” Kunstkritikk 27.09.11,

Grover, Andrea et al. (ed). New Art/Science Affinities (Pittsburgh: Miller Gallery at Carnegie Mellon University/CMU STUDIO, 2011).

Guido, Laurent and Lugon, Olivier Lugon (eds.), Between Still and Moving Images (New Barnet: John Libbey Publishing, 2012).

Gunning, Tom. D.W. Griffith and the Origins of American Narrative Film (Champaigne, IL: University of Illinois Press, 1991).

Gunning, Tom. “Flicker and Shutter. Exploring Cinema’s Shuddering Shadow,” in Indefinite Visions. Cinema and the Attractions of Uncertainty, eds. Martine Beugnet, Allan Cameron, and Arild Fetveit (Edinburgh: Edinburgh University Press, 2017), pp. 53–69.

Gunning, Tom. “Peter Tscherkassky manufractura dos minutos de cine im(puro)/Peter Tscherkassky Manufractures Two Minutes of (Im)Pure Cinema” [Spanish/English], both in Desde el cuarto oscuro. El cine manufracturado de Peter Tscherkassky/From a Dark Room. The Manufractured Cinema of Peter Tscherkassky [Spanish/English], eds. Maximiliano Cruz and Sandra Gómez (Mexico City: Interior 13/UNAM International Film Festival – FICUNAM, 2012), pp. 61–79 and pp. 130–139.

Habib, André. “Ruin, Archive and the Time of Cinema: Peter Delpeut’s Lyrical Nitrate,” SubStance, no. 35 (2006), pp. 120–139.

Hajek, Miroslava. Exact Fantasy, 2008,

Hall, Doug and Jo Fifer, Sally (eds.), Illuminating Video – An Essential Guide to Video Art (New York: Aperture, 1990).

Hamlyn, Nicky, Payne, Simon and Rees, A. L. (eds.). Kurt Kren: Structural Films (Bristol and Chicago: Intellect, 2016).

Hamlyn, Nicky. “Mutable Screens: The Expanded Films of Guy Sherwin, Lis Rhodes, Steve Farrer and Nicky Hamlyn,” in Expanded Cinema: Art, Performance, Film, eds. A.L. Rees, Duncan White, Steven Ball, and David Curtis (London: Tate Publishing, 2011), pp. 212–220.

Hanhardt, John. “The End(s) of Film,” in Celluloid: Tacita Dean, João Maria Gusmão & Pedro Paiva, Rosa Barba, Sandra Gibson & Luis Recoder, eds. Marente Bloemheuvel and Jaap Guldemond (Amsterdam: EYE Filmmuseum, nai010 publishers, 2016), pp. 99–102.

Harnly, Marc. “Technical Notes,” in Light, Paper, Process. Reinventing Photography, ed. Virginia Heckert (Los Angeles: Getty Publications, 2015), p. 111.

Hawker, Rosemary. “Idiom Post-medium: Richter Painting Photography,” Oxford Art Journal, vol. 32, no. 2 (2009), pp. 263–280.

Hays, Dan. “Painting in the Light of Digital Reproduction,” Culture Machine 9, 2007,

Hays, Dan. “Pastoral Idyll: Guy Sherwin’s Paper Landscape,” Moving Image Review and Art Journal 5(1-2), 2016, pp. 246–255.

Heckert, Virginia. Light, Paper, Process. Reinventing Photography (Los Angeles: Getty Publications, 2015).

Hein, Birgit. Film im Underground (Frankfurt: Verlag Ullstein, 1971). English translation from: Christine Noll Brinckmann, “Collective Moments and Solitary Thrusts: German Experimental Film 1920–1990,” Millennium Film Journal 30/31, Fall 1997, pp. 30–31.

Heine, Achim, Willingman, Ulrike and Reuter, Rebekka, eds. From Polaroid to Impossible. Masterpieces of Instant Photography – The Westlicht Collection (Ostfildern: Hatje Cantz Verlag, 2011), the catalog of the exhibition Polaroid (Im)possible – The Westlicht Collection at Westlicht, Schauplatz für Fotografie, Vienna, Austria, June 17 – August 21, 2011.

Hendershot, Heather. “Of Ghosts and Machines: An Interview with Zoe Beloff,” Cinema Journal, vol. 45, no. 3 (Spring 2006), pp. 130–140.

Hermanston Meister, Sarah. Michael Wesely: Open Shutter (New York: Museum of Modern Art, 2005).

Horak, Ruth. Light, Photo Book #57 (Vienna: Fotogalerie Wien, 2016).

Horak, Ruth. “Ulrike Königshofer. Polychromy in White,” Eikon. International Magazine for Photography and Media Art, no. 95 (2016), pp. 50–55.

Huhtamo, Erkki and Jussi Parikka (eds.). Media Archaeologogy. Approaches, Applications, and Implications (Berkeley, Los Angeles, London: University of California Press, 2011).

Huldisch, Henriette. “Dark Matter and Deep Time: Rosa Barba’s Uncertain Landscapes,” in Rosa Barba: The Color Out of Space. In conjunction with the exhibition The Color Out of Space at the MIT List Visual Arts Center, October 23, 2015 – January 3, 2016. Curator: Henriette Huldisch (Cambridge, Mass.: MIT List Visual Arts Center, 2016), pp. 41–68.

Jacobs, Steven. Framing Pictures: Film and the Visual Arts (Edinburgh: Edinburgh University Press, 2014).

Jäger, Gottfried. “Was ist Konkrete Fotografie?/What is Concrete Photography?,” European Photography, no. 77 (2005), p. 312,

Jutz, Gabriele. “Anthony McCall,” in Open Spaces, Secret Places. Works from the Sammlung Verbund, Vienna, ed. Gabriele Schor (Brussels: BOZAR Books and Vienna: Sammlung Verbund, 2016), p. 108.

Jutz, Gabriele. “Audio-Visual Aesthetics in Contemporary Experimental Film,” in The Oxford Handbook of Sound and Image in Western Art, ed. Yael Kaduri (Oxford: Oxford University Press, 2016), pp. 397–425.

Jutz, Gabriele. “Retrograde Technicity and the Cinematic Avant-Garde: Towards a New Dispositif of Production,” in Recherches sémiotiques/Semiotic Inquiry. Cinéma & Technologie/Cinema & Technology, eds. André Gaudreault and Martin Lefebvre, vol. 31, nos. 1-2-3 (2011), pp. 75–94.

Kelnreiter, Marlene and The Impossible Project, eds. 101 Ways to Do Something Impossible, foreword by Florian Kaps (Vienna: The Impossible Project, 2012).

Kessler, Frank and Lenk, Sabine Lenk, “Digital Cinema or What Happens to the Dispositif?,” in Exposing the Film Apparatus. The Film Archive as a Research Laboratory, eds. Giovanna Fossati and Annie van den Oever (Amsterdam: Amsterdam University Press, 2016), pp. 300–310.

King, Sarah S. “Marco Breuer,” Art in America (December 2014),

Kittler, Friedrich A. Gramophone, Film, Typewriter (Stanford: Stanford University Press, 1999).

Knierim, Fabian and Reuter, Rebekka et al. (eds.). “Beyond Photography,” in Alfons Schilling. Beyond Photography (Vienna: Verlag für Moderne Kunst, 2017), pp. 185–192.

Knowles, Kim. “Blood, Sweat, and Tears: Bodily Inscriptions in Contemporary Experimental Film,” NECSUS: European Journal of Media Studies (2013),

Knowles, Kim. “Slow, Methodical, and Mulled Over: Analog Film Practice in the Age of the Digital,” Cinema Journal, vol.  55, no. 2 (Winter 2016), pp. 146–151.

Knowles, Kim. “(Re)visioning Celluloid: Aesthetics of Contact in Materialist Film,” in Indefinite Visions. Cinema and the Attractions of Uncertainty, eds. Martine Beugnet, Allan Cameron, and Arild Fetveit (Edinburgh: Edinburgh University Press, 2017), pp. 257–272.

Knowles, Kim. “Tacita Dean: FILM,” Millennium Film Journal 56, Fall 2012, pp. 4–6.

Koepnick, Lutz. On Slowness. Toward an Aesthetic of the Contemporary (New York: Columbia University Press, 2014).

Kuni, Verena. “F (ANALOGITAL),” in Post-Digital Culture, eds. Daniel Kulle et al. (Berlin: 2015),

La France, Samuel. “Alexandre Larose’s Round Trips,” Cinema Scope 61 (Winter 2015), pp. 35–37.

Le Grice, Malcolm. “Material, Materiality, Materialism,” in Experimental Cinema in the Digital Age (London: BFI Publishing, 2001), pp. 164–171.

Leighton, Tanya (ed.): Art and the Moving Image. A Critical Reader (London: Tate and Afterall, 2008).

Levi, Pavle. “Cinema by Other Means,” October 131 (2010), pp. 51–68.

Levi, Pavle. Cinema by Other Means (Oxford, New York: Oxford University Press, 2012).

Lissel, Edgar. “Edgar Lissel,” in inside//outside – Innenraum und Ausblick in der zeitgenössischen deutschen Fotografie, eds. Walter Smerling and Simone Förster (Cologne: Wienand Verlag, 2008), p. 12 and pp. 60–63.

Lissel, Edgar. “Edgar Lissel,” in Tomorrow For Ever, eds. Carl Aigner, Hubertus von Amelunxen and Walter Smerling (Cologne: DuMont, 1999), p. 19 and pp. 120–123.

Lissel, Edgar. “The Return of Images. Photographic Inquiries into the Interaction of Light,” Leonardo 41, 5 (2008), pp. 438–445.

Lissel, Edgar. Vom Werden und Vergehen der Bilder (Vienna: Schlebrügge Editor, 2009).

Lord, Benjamin. “Gary Beydler,” X.TRA 13, 3 (2011),

Lundemo, Trond. “Media Archaeology and Montage,” in Lina Selander: Echo. The montage, the fossil, the sarcophagus, the x-ray, the cloud, the sound, the feral animal, the shadow, the room, and “Lenin’s Lamp Glows in the Peasant’s Hut”, ed. Helena Holmberg (Stockholm: OEI Editör in collaboration with Index – The Swedish Contemporary Art Foundation, 2013), pp. 11–25.

MacDonald, Scott. “Envoi: David Gatten, What the Water Said, nos. 1–3,” in The Garden in the Machine. A Field Guide to Independent Films About Place (Berkeley, Los Angeles: University of California Press, 2001), pp. 372–376.

MacDonald, Scott. “Interview with David Gatten,” in Scott MacDonald, Adventures of Perception. Cinema as Exploration: Essays, Interviews (Berkeley, Los Angeles: University of California Press, 2009), pp. 296–329.

MacDonald, Scott “Ken and Flo Jacobs,” in Scott MacDonald, A Critical Cinema 3. Interviews with Independent Filmmakers (Berkeley, Los Angeles: University of California Press, 1998), pp. 363–396.

MacDonald, Scott. The Garden in the Machine. A Field Guide to Independent Films about Place (Berkeley, Los Angeles, London: University of California Press, 2001).

Manojlović, Katharina. “Hessam Samavatian. No Black in the Shadows,” Eikon. International Magazine for Photography and Media Art, no. 100 (2017), p. 54.

Manovich, Lev. “Post-Media Aesthetics” (2001), (accessed on Jan. 26, 2019).

Marks, Laura U. Touch. Sensuous Theory and Multisensory Media (Minneapolis, London: University of Minnesota Press, 2002).

Marks, Laura U. Hanan al-Cinema. Affections for the Moving Image (Cambridge, Massachusetts and London: The MIT Press, 2015).

Marks, Laura U. The Skin of the Film. Intercultural Cinema, Embodiment, and the Senses (Durham and London: Duke University Press, 2000).

McCall, Anthony. Film Installations, ed. Helen Legg (Warwick: Mead Gallery, 2004).

McClure, Bruce. Interview with Brian Frye,

Metz, Christian. “Notes Toward a Phenomenology of the Narrative,” in Film Language. A Semiotics of the Cinema, trans. Michael Taylor (Chicago: The University of Chicago Press, 1991), pp. 16–28.

Michelson, Annette. On the Eve of the Future. Selected Writings on Film (Cambridge, Massachusetts and London: MIT Press, 2017).

Morse, Rebecca. “Photography/Sculpture in Contemporary Art,” American Art 24, no. 1 (Spring 2010), pp. 31–34.

Müller-Pohle, Andreas. Interfaces. Foto+Video 1977–1999 (Göttingen: European Photography, 1999).

Musser, Charles. “When Did Cinema Become Cinema? Technology, History, and the Moving Pictures,” in Technology and Film Scholarship. Experience, Study, Theory, ed. Santiago Hidalgo (Amsterdam: Amsterdam University Press, 2018), pp. 33–49.

Nagy, Vasja. Harald Mairböck, A picture is a camera is a picture,

Niemeyer, Thomas and Krase, Andreas (eds.). Sun on Paper – Art/Experiment/Photography (Nordhorn, Dresden: Städtische Galerie Nordhorn, Technische Sammlungen Dresden, 2016).

Palm, Michael. “Liebesfilme. Zu einigen Arbeiten von Peter Tscherkassky,” in Avantgardefilm. Österreich 1950 bis heute, eds.  Alexander Horwath, Lisl Ponger and Gottfried Schlemmer (Vienna: Verlag Wespennest, 1995),

Pamperl, Brigitte. Gesellschaft Bildender Künstler ÖsterreichsKünstlerhaus (eds.), Zeitraumzeit: Künstlerhaus Wien (Vienna: Folio Verlag, 2008).

Pantenberg, Volker. “Aggregate States of the Moving Image.” A lecture presentation delivered during “Workshop #2: Re-Mediating Cinematic Experience” for the research project A Matter of Historicity: Material Practices in Audiovisual Art (Vienna, Austria, October 7, 2016).

Parente, André and Victa de Carvalho, “Cinema as Dispositif: Between Cinema and Contemporary Art,” Cinémas, vol. 19, no. 1 (2008), pp. 37–55.

Parikka, Jussi. What is Media Archaeologogy? (Cambridge: Polity Press, 2012).

Parikka, Jussi. “‘With Each Project I Find Myself Reimagining What Cinema Might Be’”: An Interview with Zoe Beloff (2011),

Philipp, Claudia Gabriele. “Plato’s Cave,” European Photography, no. 63 (1998).

Pierre Ulmann, Sylvie. “Elements for a Theory of the Photogramme,” in Art in Translation 8:1 (2016), pp. 108-127.

Pippin, Steven. Laundromat-Locomotion: Mr. Pippin (San Francisco: SFMOMA, 1998).

Recoder, Luis. “The Death of Structural Film. Notes Towards a Filmless Cinema”, Deaths of Cinema, Special Graduate Conference Issue, Spectator no. 27, supplement (2007), pp. 26–30,

Reichle, Ingeborg. Art in the Age of Technoscience. Genetic Engineering, Robotics, and Artificial Life in Contemporary Art, translated by Gloria Custance (New York: Springer, 2009).

Renan, Sheldon. An Introduction to the American Underground Film (New York: Dutton, 1967).

Reynolds, Lucy. “Magic Tricks? The Use of Shadowplay in British Expanded Cinema,” in Expanded Cinema. Art, Performance, Film, eds. A.L. Rees, Duncan White, Steven Ball, and David Curtis (London: Tate Publishing, 2011), pp. 148–156.

Richter, Gerhard and Benjami H. D. Buchloh. Atlas: the Reader (London: Whitechapel Gallery, 2012).

Rodowick, D. N. The Virtual Life of Film (Harvard: Harvard University Press, 2007).

Rondepierre, Eric, et al., Précis de décomposition (Paris: Galerie Michèle Chomette, 1995).

Roth, Tim Otto. Körper. Projektion. Bild, Eine Kulturgeschichte der Schattenbilder (Paderborn: Wilhelm Fink Verlag, 2015).

Sax, David. The Revenge of the Analog. Real Things and Why They Matter (New York: Public Affairs, 2016).

Scheugl, Hans. “Expanded Cinemas Exploding,” in Film Unframed. A History of Austrian Avant-Garde Cinema, ed. Peter Tscherkassky (Vienna: FilmmuseumSynemaPublikationen, 2012), pp. 129–139.

Scheugl, Hans. Ex Underground. Kurt Kren. Seine Filme (Vienna: PVS, 1996).

Schimek, Hanna. film zeichnen 1-4 (Vienna: artist book, 2015).

Sengmüller, Gebhard. “Four Media Archaeological Artworks,” in Interface Cultures. Artistic Aspects of Interaction, eds. Christa Sommerer, Laurent Mignonneau, and Dorothée King (Bielefeld: Transcript, 2008), pp. 273–282.

Sitney, P. Adams. Visionary Film. The American Avant-Garde 1943–1978 (Oxford, New York, Toronto, Melbourne: Oxford University Press, 1979).

Small, Edward S. Direct Theory. Experimental Film/Video as Major Genre (Carbondale, Edwardsville: Southern Illinois University Press, 1994).

Smith, Vicky. “Full Body Film,” Sequence, no. 3, 2012, pp. 44–47.

Sobchak, Vivian. Carnal Thoughts. Embodiment and Moving Image Culture (Berkeley, Los Angeles, London: University of California Press, 2004).

Solomon-Godeau, Abigail. “Photography After Art Photography,” in Art After Modernism: Rethinking Representation, ed. Brian Wallis (New York: New Museum of Contemporary Art, 1984), pp. 75–85.

Soutter, Lucy. “Expanded Photography: Persistence of the Photographic,” PhotoResearcher, no. 26 (2016), pp. 36–43.

Spiegl, Andreas. “Create an Image of Seeing,” in Alfons Schilling. Beyond Photography , eds. Fabian Knierim, Rebekka Reuter et al. (Vienna: Verlag für Moderne Kunst, 2017), pp. 286–271.

Spira, Anthony and Viliani, Andrea (eds.) Gerard Byrne: Gestalt Forms of Loch Ness: Grid Site Sequence (Zürich: JRP|Ringier Kunstverlag AG, 2012).

Squiers, Carol.  “What is a Photograph?,” in What is a Photograph?, ed. Carol Squiers (New York: International Center of Photography and DelMonico Books, 2014), pp. 9–45.

Starl, Timm. Kritik der Fotografie (Marburg: Jonas Verlag, 2012).

Steadman, Philip. Vermeer's Camera: Uncovering the Truth behind the Masterpieces (Oxford: Oxford University Press, 2001).

Strauven, Wanda. “The (Noisy) Praxis of Media Archaeology,” in At the Borders of (Film) History. Temporality, Archaeology, Theories, eds. Alberto Beltrame, Giuseppe Fidotta, Andrea Mariani (Udine: FilmForum 2014, XXI International Film Studies Conference, University of Udine, 2014), pp. 33–41.

Strauven, Wanda. “The Observer’s Dilemma. To Touch or Not to Touch,” in Media Archaeology. Approaches, Applications, and Implications, eds. Erkki Huhtamo and Jussi Parikka (Berkeley, Los Angeles, London: University of California Press, 2011), pp. 148–163.

Takahashi, Tess L. “Structure and Contingency in the Films of Alexandre Larose,” desistfilm (September 2, 2015),

Tanchis, Aldo. Bruno Munari: From Futurism to Post-industrial Design (Milan: Idea Books Edizioni, 1986).

Toffetti, Sergio (ed.), Paolo Gioli: un cinema dell’impronta: imprint cinema (Roma: Fondazione Centro Sperimentale di Cinematografia, 2009).

Tscherkassky, Peter. “¿Cómo  y por qué? Algunos comentarios acerca de las técnicas de producción empleadas en la realización de la Trilogia CinemaScope” and “How and Why? A Few Comments Concerning Production Techniques Employed in the Making of the CinemaScope Trilogy”, both in Desde el cuarto oscuro. El cine manufracturado de Peter Tscherkassky/From a Dark Room. The Manufractured Cinema of Peter Tscherkassky [Spanish/ English], eds. Maximiliano Cruz and Sandra Gómez (Mexico City: Interior 13/UNAM International Film Festival – FICUNAM, 2012), pp. 51–60 and 124–129.

Tscherkassky, Peter (ed.). Film Unframed. A History of Austrian Avant-Garde Cinema (Vienna: FilmmuseumSynemaPublikationen, 2012).

Turim, Maureen, “Tscherkassky: Works of Dreams and Shadows,” in Film Unframed. A History of Austrian Avant-Garde Cinema, ed. Peter Tscherkassky (Vienna: FilmmuseumSynemaPublikationen, 2012), pp. 206–221.

Turquety, Benoît. “Forms of Machines, Forms of Movement,” in Cine-Dispositives. Essays in Epistemology Across Media, eds. François Albera and Maria Tortajada (Amsterdam: Amsterdam University Press, 2015), pp. 275–297.

Turquety, Benoît. Inventer le cinéma. Épistémologie, problèmes, machines (Lausanne: Editions L’Age d’Homme, 2014).

Turquety, Benoît. “On Viewfinders, Video Assist Systems, and Tape Splicers: Questioning the History of Techniques and Technology in Cinema,” in Technology and Film Scholarship. Experience, Study, Theory, ed. Santiago Hidalgo (Amsterdam University Press, 2018).

Urlus, Esther. Re:Inventing the Pioneers: Film Experiments on Handmade Silver Gelatin Emulsion and Color Methods, (self-published, 2013).

Uroskie, Andrew V. Between the Black Box and the White Cube. Expanded Cinema and Postwar Art (Chicago and London: University of Chicago Press, 2014).

Vomm, Wolfgang. “The Pinhole in the World,” in Picture Rooms. Edgar Lissel Räume/Rooms 1996–2000Eikon. International Magazine for Photography and Media Art, Sonderdruck no. 5 (2000).

Walley, Jonathan. “Five Appendices in Search of a Text: A Disproportionate Response (Piece) to Peter Gidal and Mark Webber, eds., Peter Gidal/Flare Out: Aesthetics 1966–2016, with Excurses on ‘Structural Film,’”World Picture 12 (Winter 2017),

Walley, Jonathan. “Identity Crisis: Experimental Film and Artistic Expansion,” October, no. 137 (2011), pp. 23–50.

Walley, Jonathan. “Materiality and Meaning in Recent Projection Performance,” The Velvet Light Trap, no. 70 (2012), pp. 18–34.

Walley, Jonathan. “Modes of Film Practice in the Avant-Garde,” in Art and the Moving Image. A Critical Reader, ed. Tanya Leighton (London: Tate Publications, 2008), pp.182–199; pp. 186–188.

Walley, Jonathan. “‘Not an Image of the Death of Film’: Contemporary Expanded Cinema and Experimental Film,” in Expanded Cinema. Art, Performance, Film, eds. A.L. Rees, Duncan White, Steven Ball and David Curtis (London: Tate, 2011), pp. 241–251.

Walley, Jonathan. “Obscurus Projectum,” commissioned catalog essay for Sandra Gibson and Luis Recoder, Powers of Resolution, semi-permanent installation at the San Francisco Exploratorium, Fall 2016,

Walley, Jonathan. “The Material of Film and the Idea of Cinema: Contrasting Practices in Sixties and Seventies Avant-Garde Film,” October, no. 103 (2003), pp. 15–30.

Wollen, Peter. “Cinema and Technology,” in The Cinematic Apparatus, eds. Teresa de Lauretis and Stephen Heath (London: Macmillan, 1980), pp. 14–25.

Webber, Mark. Film as Film, The Collected Writings of Gregory Markopoulos (London:The Visible Press, 2014).

Wees, William C. Recycled Images. The Art and Politics of Found Footage Films (New York: Anthology Film Archives, 1993).

White, Duncan. “Interview of William Raban, London, February 2008,”

Williams, Linda Ruth. “Fiona Banner,” in Spellbound: Art and Film, eds. Ian Christie and Philippe Dodd (London: Hayward Gallery and British Film Institute, 1996).

Willis, Holly. “The Pleasure of the Text. Avant-Garde Filmmaker David Gatten Transforms Writing,” Film Comment, March-April (2013), pp. 48–51.

Windhausen, Federico. “Minimalist Principles: An Exchange With William Raban, 3 Jul 2016,”

Wollen, Peter. “Cinema and Technology,” in The Cinematic Apparatus, eds. Teresa de Lauretis and Stephen Heath (London: Macmillan, 1980), pp. 14–25.

Wooldridge, Duncan. “Rosângela Rennó. Río-Montevideo,” 1000 Words, 2016,

Youngblood, Gene. Expanded Cinema (New York: Dutton, 1970).

Yue, Genevieve. “What Was Cinema?” La Furia Umana 8 (2015), pp. 64–69,

Zielinski, Siegfried. Deep Time of the Media: Toward an Archaeology of Hearing and Seeing by Technical Means (Cambridge, MA: MIT Press, 2006).

Zuckriegl, Margit. “Edgar Lissel,” in kamera los – das fotogramm, eds. Museum der Moderne Salzburg, Toni Stooss (Salzburg and Munich: Verlag Anton Pustet, 2006), pp. 50–51.

Zryd, Michael. “Professor Ken,” in Optic Antics. The Cinema of Ken Jacobs, eds. Michele Pierson, David E. James, and Paul Arthur (Oxford, New York: Oxford University Press, 2011), pp. 249–261.