Addressing emerging debates in film and media studies surrounding the digitization of film heritage, I started putting together, in 2014, the bibliography below with the aim of developing a better overview and understanding of digital research methods and publication formats in film historical research. Calling it “Digital Film Historiography – A Bibliography” I aligned it with the sub-field of Digital History which has existed in the discipline of history for well over a decade and which has already seen the publication of several pioneering monographs. As historian David J. Staley puts it in his 2003-monograph Computers, Visualization and History – How New Technologies Will Transform Our Understanding of the Past (M.E.Sharpe, 2003):

“Without our recognizing them as such, visual secondary sources do exist in our profession in the form of diagrams, maps, films, dramatic recreations, and museum displays. While these visual secondary sources surround us daily, historians accord them supplementary status to the ‘real history’ we believe is written” (p. 59-60)

In developing this bibliography my hope is that formats that increasingly permeate sites of film historical knowledge – video essays, data visualizations, DVDs, online platforms and museum installations – can be recognized as secondary sources of film history, and that the bibliography may stimulate critical scholarly reflection on these formats.

The bibliography is extensive but not comprehensive. Suggestions are always welcome. The bibliography is updated regularly.

Last updated: August 19, 2020.

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Audiovisual Essays, Found Footage and Remix Culture

• Anderson, Steve F., Aporias of the Digital Avant-Garde, in Digital Humanities Quarterly, Vol. 1, No. 2 (2007)
• Anderson, Steve F. Technologies of History: Visual Media and the Eccentricity of the Past. Dartmouth College Press, 2011.
• Baron, Jaimie. The Archive Effect – Found Footage and the audiovisual experience of history. London and New York: Routledge, 2014.
• Brenez, Nicole, trans. Adrian Martin, “Recycling, Visual Study, Expanded Theory – Ken Jacobs, Theorist, or the Long Song of the Sons” in Optic Antics. The Cinema of Ken Jacobs, edited by Michele Pierson, David E. James, and Paul Arthur, 158-174. Oxford and New York: Oxford University Press, 2010.
• Grant, Catherine, “How Long Is a Piece of String? On the Practice, Scope and Value of Videographic Film Studies”, Presentation Given at the Audiovisual Essay Conference, Frankfurt Filmmuseum/Goethe University, November 23-24, 2013.
• Groo, Katherine, “Cut, Paste, Glitch, and Stutter: Remixing Film History”, in Frames Cinema Journal, 1:1 (2012)
• Fossati, Giovanna, “Found Footage: Filmmaking, Film Archiving and New Participatory Platforms”, in Found Footage: Cinema Exposed, edited by M. Bloemheuvel, G. Fossati & J. Guldemond, 177-184. Amsterdam: Amsterdam University Press, 2012.
• Ingravalle, Grazia, “Remixing Early Cinema: Historical Explorations at the EYE Film Institute Netherlands”, in The Moving Image, vol. 15, no. 2 (2015): 82-97.
• O’Sullivan, Shane, “Archives for Education: The Creative Reuse of Moving Images in the United Kingdom”, in The Moving Image: The Journal of the Association of Moving Image Archivists, Vol. 17, No. 2 (Fall 2017), pp. 1-19
• Paci, Viva and Timothy Barnard, “The Remix Age: Exhibition as Archive”, in The Moving Image, vol. 15, no. 2 (2015): 72-82.
• Pantenburg, Volker, “Towards an alternative history of the video essay”, in NECSUS – European Journal of Media Studies, vol. 6, no. 12 (2017)
• Witt, Michael. Jean-Luc Godard. Cinema Historian. Bloomington & Indianapolis: Indiana University Press, 2013.

Video Annotation, Enriched and Historical-Critical Editions

• Augst, Bertrand, and Brian O’Connor, “No Longer a Shot in the Dark: Engineering a Robust Environment for Film Study”, in Computers and the Humanites, Vol. 33, No. 4 (1999): 345-363.
• Balsom, Erika, “Qu’est’ce qu’une madeleine interactive? Chris Marker’s Immemory and the Possibility of a Digital Archive”, in E-Media Studies, Volume 1, Issue 1 (2008)
• Bohn, Anna. Denkmal Film – Band 2. Kulturlexicon Filmerbe. Wien, Köln, Weimar: Böhlau Verlag, 2013.
• Bourgatte Michaël, Tessier Laurent (2017). “Les outils d’annotation vidéo pour la recherche”, in Cavalié Étienne, Clavert Frédéric, Legendre Olivier, Martin Dana (édité par), Expérimenter les humanités numériques. Des outils individuels aux projets collectifs, collection « Parcours numériques », Les Presses de l’Université de Montréal, Montréal, p. 19-35.
• Bursi, Giulio, “Per un’ecdotica del film”, in Cinergie, No. 13 (2007)
• Bursi, Giulio & Simone Venturini (eds.), Critical Editions of Film. Film Tradition, Film Transcription in the Digital Era. Pasian di Prato: Campanotto editore, 2008.
• Canosa, Michele, “A piè di schermo. A proposito di edizioni critiche dei film”, in Cinergie, No. 13 (2007): 52-53.
• Distelmeyer, Jan, Das flexible Kino – Ästhetik und Dispositiv der DVD & Blu-ray. Berlin: Bertz + Fischer, 2012.
• Drubek-Meyer, Natascha and Nikolai Izvolov, “Critical Editions of Films on Digital Formats”, in Cinema & Cie, No. 8, Fall (2006): 203-214.
• Drubek-Meyer, Natascha and Nikolai Izvolov, “Textkritische Editionen von Filmen auf DVD. Ein Diskussionsbeitrag”, in  montage a/v. Zeitschrift für Theorie & Geschichte audiovisueller Kommunikation, 16:1, (2007): 183-199.
• Estrada, Liliana Melgar, Eva Hielscher, Marijn Koolen, Christian Gosvig Olesen, Julia Noordegraaf and Jaap Blom, “Film Analysis as Annotation: Exploring Current Tools”, in The Moving Image: The Journal of the Association of Moving Image Archivists, Vol. 17, No. 2 (Fall 2017), pp. 40-70
• Giunti, Livia, Problemi dell’analisi del testo di finzione audiovisivo: verifica e sviluppo di un modello analitico e interpretativo con strumenti digitali. PhD diss., Università degli studi di Pisa, 2010.
• Giunti, Livia, “L’analyse du film a l’ère numérique. Annotation, geste analytique et lecture active”, in Cinéma & Cie, vol. XIV, no. 22/23 (2014): 127-144.
• Hahn, Stefan ”Filmprotokoll Revisited. Ground Truth in Digital Formalism” in Maske und Kothurn, Vol. 55, No. 3 (2009)
• Horak, Jan-Christopher, “The Gap Between 1 and 0. Digital Video and the Omissions of Film History”, in Spectator, 27:1 (Spring 2007): 29-41.
• Loiperdinger, Martin (ed.). Celluloid Goes Digital. Historical-Critical Editions of Films on DVD and the Internet – Proceedings of the First International Trier Conference on Film and New Media, October 2002. Trier: WVT Wissenschaftlicher Verlag Trier, 2003.
• Larson, Stephen, The Birth, Death, and Re-Birth of an Auteur: the Analog to Digital Conversion of Carl Theodor Dreyer’s Films. PhDiss: North Carolina State University, 2015.
• Larson, Stephen, “Carl Dreyer’s Michael: Digitalization and the Rediscovery of a Classic Kammerspiel-film”, in Kosmorama, no. 270 (2017)
• Parker, Mark and Deborah Parker. DVD and the Study of Film – The Attainable Text. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2011.
• Re, Valentina, “Tecnologia del testo. Alcune considerazioni sull’edizione in DVD del film”, in Cinergie, No. 13 (2007): 56-58.
• Roth, Laurent and Raymond Bellour. Qu’est-ce qu’une madeleine? A propos du CD-ROM Immemory de Chris Marker. Bruxelles: Yves Gevaert Éditeur, 1997.
• Singer, Ben, “Hypermedia as a Scholarly Tool” in Cinema Journal, vol. 34, no. 3 (1995): 86-91.
• Singer, Ben, “Addendum to Hypermedia as a Scholarly Tool”, in Cinema Journal, vol. 35, no. 1 (1995): 125.
• Venturini, Simone, “Dal restauro all’edizione critica” in Cinergie, No. 13 (2007): 53-55.
• Zaharieva, Maia, Dalibor Mitrović, Matthias Zeppelzauer and Christian Breiteneder, “Film Analysis in Archive Documentaries”, in IEEE Multimedia, 18 (2), (2011): 38-47.
• Zaharieva, Maia, Matthias Zeppelzauer, Dalibor Mitrović and Christian Breiteneder, “Archive Film Comparison”, in International Journal of Multimedia Data Engineering and Management, 1 (3), (2010): 188-190.
• Zeppelzauer, Matthias, Maia Zaharieva, Dalibor Mitrović and Christian Breiteneder, “Retrieval of Motion Composition in Film”, in Digital Creativity, 22 (4), (2011): 219-234.
  

Stylometry, Cinemetrics and Authorship Attribution

• Anderson, Richard L., and Brian C. O’Connor, “Reconstructing Bellour: Automating the Semiotic Analysis of Film”, Bulleting of the American Society for Information Science and Technology, Vol. 35, No. 5 (2009): 31-40.
• Bateman, John A., “Looking for what counts in film analysis: A programme of empirical research”, in Visual Communication, edited by David Machin, 301-330. Berlin: De Gruyter, 2014.
• Baxter, Mike, Daria Khitrova and Yuri Tsivian, “Exploring Cutting Structure in Film, with Applications to the Films of D.W Griffith, Mack Sennett, and Charlie Chaplin” in Digital Scholarship in the Humanities (2015)
• Brotto, Dennis, “A Digital Way for Film Studies and Soundscape Retrieval”, in Cinergie, No. 3 (2013)
• Butler, Jeremy, “Statistical Analysis of Television Style: What Can Numbers Tell Us about TV Editing?”, in Cinema Journal, vol. 54, no. 1 (2014): 25-44.
• Casey, Michael and Mark Williams. White Paper. ACTION: Audio-visual Cinematics Toolbox for Interaction, Organization, and Navigation of Film. Hanover: Dartmouth College, 2014.
• Flückiger, Barbara, “A Digital Humanities Approach to Film Colors”, in The Moving Image: The Journal of the Association of Moving Image Archivists, Vol. 17, No. 2 (Fall 2017), pp. 71-94
• Heftberger, Adelheid, Michael Loebenstein and Georg Wasner, “Auf Spurensuche im Archiv. Ein Arbeitsbericht”, in Maske und Kothurn, Vol. 55, No. 3 (2009)
• Heftberger, Adelheid, Yuri Tsivian and Matteo Lepore, “Man with a Movie Camera (SU 1929) under the Lens of Cinemetrics”, in Maske und Kothurn, Vol. 55, No. 3 (2009)
• Heftberger, Adelheid, “Do Computers Dream of Cinema? Film Data for Computer Analysis and Visualisation”, in Understanding Digital Humanities, edited by David M. Berry, 210-223. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2012.
• Heftberger, Adelheid. Kollision der Kader. Dziga Vertovs Filme, die Visualisierung ihre Strukturen und die Digital Humanities. Munich: edition text+kritik, 2016.
• Heftberger, Adelheid. Digital Humanities and Film Studies – Visualizing Dziga Vertov’s Work. New York: Springer International Publishing, 2018.
• Jacobs, Lea and Kaitlin Fyfe, “Digital Tools for Film Analysis: Small Data”, in The Arclight Guidebook to Media History and Digital Humanities, edited by Charles R. Acland and Eric Hoyt, 249-269. Sussex: REFRAME Books, 2016.
• Kolker, Robert, “Digital Media and the Analysis of Film”, in Susan Schreibman, Ray Siemens and John Unsworth (eds.), A Companion to Digital Humanities. Oxford: Blackwell Publishing, 2004.
• Long, Derek, “Excavating Film History With Metadata Analysis: Building and Searching the ECHO Early Cinema Credits Database”, in The Arclight Guidebook to Media History and Digital Humanities, in Charles R. Acland and Eric Hoyt, 145-164. Sussex: REFRAME Books, 2016.
• Mamber, Stephen, “Marey, the analytic, and the digital”, in Allegories of Communication: Intermedial concerns from cinema to the digital, edited by John Fullerton and Jan Olsson, 83-91. New Barnet: John Libbey Publishing, 2004.
• Manovich, Lev, “Visualizing Vertov” in Cinematicity in Media History, edited by Jeff Geiger and Karin Littau, 211-234.Edinburgh:  Edinburgh University Press, 2013.
• Olesen, Christian Gosvig, “Film History ‘in the Making’: On Fact Production and Film Historiography in Digital Humanities Laboratories”, in At the Borders of (Film) History. Temporality, Archaeology, Theories, edited by Alberto Beltrame, Giuseppe Fidotta and Andrea Mariani, 157-166. Udine: Forum Editirice Universitaria Udinese SRL, 2015.
• Olesen, Christian Gosvig, “Towards a ‘Humanistic Cinemetrics’?”, in K. Es and M. Schäfer (eds.), The Datafied Society. Amsterdam: Amsterdam University Press, 2017. – Forthcoming
• Redfern, Nick, An introduction to using graphical displays for analysing the editing of motion pictures. Cinemetrics, 2012.
• Ross, Michael, Manfred Grauer and Bernd Freisleben, eds., Digital Tools in Media Studies. Analysis and Research – An Overview. Bielefeld: Transcript Verlag, 2009.
• Stork, Matthias, “On Cinemetrics, Video Essays, and Digital Scholarship – An Interview with Dr. Yuri Tsivian and Dr. Daria Khitrova”, in Mediascape – UCLA’s Journal of Cinema and Media Studies, Vol. 9, Fall (2013)
• Stutz, Olivia Kristina, Algorithmische Farbfilmästhetik. Historische sowie experimentell-digitale Notations- und Visualisierungssysteme des Farbfilms im Zeichen der Digital Humanities 2.0 und 3.0. MA Thesis, Universität Zürich, 2016. 
• Tsivian, Yuri, “‘What Is Cinema?’ An Agnostic Answer”, in Critical Inquiry, vol. 34, no. 4 (2008): 754-776.
• Tsivian, Yuri et al., Measurement Theory, Chicago: Cinemetrics, (2012?)
• Zeppelzauer, M., D. Mitrovic, C. Breiteneder: “Analysis of Historical Artistic Documentaries”; Poster: Ninth International Workshop on Image Analysis for Multimedia Interactive Services, Klagenfurt; 05-07-2008 – 05-09-2008; in: “Ninth International Workshop on Image Analysis for Multimedia Interactive Services”, (2008), ISBN: 978-0-7695-3130-4.
• Zeppelzauer, M., D. Mitrovic, C. Breiteneder: “Automatic Analysis – First Results in Shot Boundary Detection”; Maske und Kothurn, 55 (2009), 3; 45 – 59.

New Cinema History: Databases, GIS and 3D Visualization

• Acland, Charles R., “Low-Tech Digital”, in The Arclight Guidebook to Media History and Digital Humanities, edited by Charles R. Acland and Eric Hoyt, 132-144. Sussex: REFRAME Books, 2016.
• Acland, Charles R. and Fenwick McKelwey, “Terminological Traffic in the Movie Business”, in The Arclight Guidebook to Media History and Digital Humanities, edited by Charles R. Acland and Eric Hoyt, 238-248. Sussex: REFRAME Books, 2016.
• Allen, Robert C., “Getting to Going to the Show”, in New Review of Film and Television Studies, Vol. 8, No. 3 (2010): 264-276.
• Allen, Robert C., “Reimagining the History of the Experience of Cinema in a Post-Moviegoing Age”, in New Explorations in Cinema History. Approaches and Case Studies, edited by Richard Maltby, Daniel Biltereyst and Philippe Meers, 41-47. Chichester: Blackwell Publishing, 2011.
• Dibbets, Karel, “Cinema Context and the genes of film history”, in New Review of Film and Television, 8.3 (2011): 331-42.
• Elsaesser, Thomas, “The New Film History as Media Archaeology”, in Cinémas: revue d’études cinématographiques / Cinémas: Journal of Film Studies, Volume 14, nos. 2-3, Spring (2004): 75-117.
• Hallam, Julia and Les Roberts,“Mapping, memory and the city: Archives, databases and film historiography”,in European Journal of Cultural Studies, 14:3, (2011): 355-372.
  
• Horak, Laura, “Using Digital Maps to Investigate Cinema History”, in The Arclight Guidebook to Media History and Digital Humanities, edited by Charles R. Acland and Eric Hoyt, 65-102. Sussex: REFRAME Books, 2016.
• Hoyt, Eric, Wendy Hagenmaier and Carl Hagenmaier, “Media + History + Digital + Library: An Experiment in Synthesis”, in E-Media Studies, Volume 3, Issue 1 (2013)
• Hoyt, Eric, “Lenses for Lantern: Data Mining, Visualization, and Excavating Film History’s Neglected Sources”, in Film History: An International Journal, Volume 26, Number 2 (2014): 146-168.
• Hughes, Kit, “Field Sketches with Arclight: Mapping the Industrial Film Sector”, in The Arclight Guidebook to Media History and Digital Humanities, edited by Charles R. Acland and Eric Hoyt, 103-130. Sussex: REFRAME Books, 2016.
• Klenotic, Jeffrey, “Putting Cinema History on the Map – Using GIS to Explore the Spatiality of Cinema”, in New Explorations in Cinema History. Approaches and Case Studies, Richard Maltby, Daniel Biltereyst and Philippe Meers, 58-84. Chichester: Blackwell Publishing, 2011.
• Lotze, Kathleen, “Bringing the Multiplex to Antwerp: A Battle of Two Giants”, in Tijdschrift voor Mediageschiedenis, Vol. 21, No. 1 (2018): 76-101
• Matlock, Lindsay Kistler, “Mapping the Traces of the Media Arts Center Movement”, in The Moving Image: The Journal of the Association of Moving Image Archivists, Vol. 17, No. 2 (Fall 2017), pp. 119-128
• Noordegraaf, Julia, Loes Opgenhaffen & Norbert Bakker, “Cinema Parisien 3D. Reconstructing the Experience of Cinema-going in Early 20th-Century Amsterdam”, in Alphaville: Journal of Film and Screen Media no. 11 (2016): 45-61.
• Olesen, Christian Gosvig, Eef Masson, Jasmijn van Gorp, Giovanna Fossati & Julia Noordegraaf “Data-Driven Research for Film History: Exploring The Jean Desmet Collection” in The Moving Image, Vol. 16, No. 1 (2016): 82-105.
• Porubčanská, Terézia, “Approaches to Spatial Analysis in Local Cinema History Research”, in Tijdschrift voor Mediageschiedenis, Vol. 21, No. 1 (2018): 54-75
• Ross, Michael, Manfred Grauer and Bernd Freisleben (eds.). Digital Tools in Media Studies. Analysis and Research – An Overview. Bielefeld: Transcript Verlag, 2009.
• Vélez-Serna, María Antonia, “(Micro)film Studies”, in The Moving Image: The Journal of the Association of Moving Image Archivists, Vol. 17, No. 2 (Fall 2017), pp. 95-100
• Simoni, Paolo, “The Amateur City: Digital Platforms and Tools for Research and Dissemination of Films Representing the Italian Urban Landscape”, in The Moving Image: The Journal of the Association of Moving Image Archivists, Vol. 17, No. 2 (Fall 2017), pp. 111-118
• Spiro, Lisa, “Looking for Bachelors in American Silent Film: Experiments with Digital Methods”,in The Arclight Guidebook to Media History and Digital Humanities, edited by Charles R. Acland and Eric Hoyt, 216-237. Sussex: REFRAME Books, 2016.
• Verhoeven, Deb, “New Cinema History and the Computational Turn”, in Beyond Art, Beyond Humanities, Beyond Technology: A New Creativity, Proceedings of the World Congress of Communication and the Arts Conference, University of Minho, Portugal, 2012.
• Verhoeven, Deb, “Show Me the History! Big Data Goes to the Movies”, in The Arclight Guidebook to Media History and Digital Humanities, edited by Charles R. Acland and Eric Hoyt, 165-183. Sussex: REFRAME Books, 2016.
• Waller, Gregory A., “Search and Re-Search: Digital Print Archives and the History of Multi-Sited Cinema”, in The Arclight Guidebook to Media History and Digital Humanities, edited by Charles R. Acland and Eric Hoyt, 45-64. Sussex: REFRAME Books, 2016.

Online Collections, Databases, Presentation and Curation

• Hagener, Malte, ”Inventing a Past, Imagining a Future. The Discovery and Institutionalisation of Film History in the 1930s”, in Cinéma & Cie, vol. XI, Nos. 16-17 Spring-Fall (2011): 29-37.
• Hediger, Vinzenz, “Politique des archives. European Cinema and the Invention of Tradition in the Digital Age”, in Rouge, 12 (2008)
• Heftberger, Adelheid, “Ask Not What Your Web Can Do For You – Ask What You Can Do For Your Web! Some Speculations About Film Studies in the Age of the Digital Humanities”, in Frames Cinema Journal, vol. 1, no. 1 (2012)
• Heftberger, Adelheid, “Film archives and digital humanities – an impossible match? New job descriptions and the challenges of the digital era”, in MedieKultur – Journal of media and communication research, vol. 30, no. 57 (2014): 135-153.
• Heftberger, Adelheid, “Exploring the Moving Image: The Role of Audiovisual Archives as Partners for Digital Humanities and Cultural Heritage Institutions”, in Digital Humanities, Libraries and Partnerships – A Critical Examination of Labor, Networks and Community. Witney: Chandos Publishing: 2018.
• Hoyt, Eric, “Curating, Coding, Writing: Expanded Forms of Scholarly Production”, in The Arclight Guidebook to Media History and Digital Humanities, edited by Charles R. Acland and Eric Hoyt, 347-373. Sussex: REFRAME Books, 2016.
• Monizza, Simona, “The Short Film Pool Project: Saving Short Films from Oblivion in the Digital Era”, The Moving Image: The Journal of the Association of Moving Image Archivists, Vol. 17, No. 2 (Fall 2017), pp. 129-135
• Lundemo, Trond, “Archives and Technological Selection”, in Cinémas: revue d’études cinématographiques / Cinémas: Journal of Film Studies, Volume 24, no. 2-3 (2014): 17-39.
• Olesen, Christian Gosvig, “I-Media-Cities, europæisk (film-)historieskrivning og den digitale humaniora”, in Kosmorama, No. 272 (2018)
• Tepperman, Charles, “The Amateur Movie Database: Archives, Publics, Digital Platforms”, in The Moving Image: The Journal of the Association of Moving Image Archivists, Vol. 17, No. 2 (Fall 2017), pp. 106-110
• Snickars, Pelle, ”Remarks on a failed film archival project”, Journal of Scandinavian Cinema, vol. 5, no. 1, (2015): 63-67.
• Williams, Mark, “Networking Moving Image History: Archives, Scholars, and the Media Ecology Project”, in The Arclight Guidebook to Media History and Digital Humanities, edited by Charles R. Acland and Eric Hoyt, 335-346. Sussex: REFRAME Books, 2016.

Digital Film Restoration and Historiography

• Flueckiger, Barbara, “Material properties of historical film in the digital age”, in NECSUS – European Journal of Media Studies, Vol. 1, Issue 2 (2012): 135-153.
• Fossati, Giovanna. From Grain to Pixel. The Archival Life of Film in Transition. Amsterdam: Amsterdam University Press, 2009.
• Giuliani, Luca & Sabrina Negri, “Missing Links: Digital Cinema, Analogical Archives and Film Historiography”, in Intermédialités : histoire et théorie des arts, des lettres et des techniques/Intermediality: History and Theory of the Arts, Literature and Technologies, no. 18 (2011): 71-84.
• Habib, André & Michel Marie eds., L’avenir de la mémoire. Patrimoine, restauration, réemploi cinématographiques. Villeneuve d’Ascq: Presses Universitaires du Septentrion, 2013.

Computer Vision, Visual Studies, Deformative Criticism & Epistemology

• Crafton, Donald and Susan Ohmer, “Editor’s Foreword: Digital Tools and Networks”, in The Moving Image: The Journal of the Association of Moving Image Archivists, Vol. 17, No. 2 (Fall 2017), pp. vii-x
• Ferguson, Kevin L., “The Slices of Cinema: Digital Surrealism as Research Strategy”, in The Arclight Guidebook to Media History and Digital Humanities, edited by Charles R. Acland and Eric Hoyt, 270-299. Sussex: REFRAME Books, 2016.
• Grant, Catherine, “Film and Moving Image Studies: Re-Born Digital? Some Participant Observations”, in Frames Cinema Journal, vol. 1, no. 1 (2012)
• Habib, André, La main gauche de Jean-Pierre Léaud.  Montréal: Les Éditions du Boréal, 2015.
• Hassapopoulou, Marina, “Conference Report on Transformations I: Cinema and Media Studies Research Meets Digital Humanities Tools”, in The Moving Image: The Journal of the Association of Moving Image Archivists, Vol. 17, No. 2 (Fall 2017), pp. 135-139
• Heras, Daniel Chávez, “Malleable Computer: Software and the Study of the Moving Image”, in Frames Cinema Journal, 1:1 (2012)
• Dimitrios Latsis and Grazia Ingravalle, “Guest Editor’s Foreword: Digital Humanities and/in Film Archives”, in The Moving Image: The Journal of the Association of Moving Image Archivists, Vol. 17, No. 2 (Fall 2017), pp. xi-xv
• Kuhn, Virginia & Craig, Alan & Franklin, Kevin & Simeone, Michael & Arora, Rakesh & Bock, Dave & Marini, Luigi. (2012). Large Scale Video Analytics: On-demand, iterative inquiry for moving image research. 2012 IEEE 8th International Conference on E-Science, e-Science 2012. 1-5. 10.1109/eScience.2012.6404446.
• Kuhn, Virginia & Simeone, Michael & Marini, Luigi & Bock, Dave & Craig, Alan & Diesendruck, Liana & Puthanveetil Satheesan, Sandeep. (2014). MOVIE: Large Scale Automated Analysis of MOVing ImagEs. 10.1145/2616498.2616529.
• McPherson, Tara, ”Media Studies and the Digital Humanities”, Cinema Journal, vol. 48, no. 2 (2009): 119-160.
• Olesen, Christian Gosvig, “Formalising Digital Formalism: An Interview with Adelheid Heftberger and Matthias Zeppelzauer about the Vienna Vertov Project” in Miriam de Rosa and Ludovica Fales (eds.), Shifting Layers. New Perspectives in Media Archaeology Across Digital Media and Audiovisual Arts. Milan: Mimesis International, 2016. – Forthcoming.
• Posner, Miriam, “How Is a Digital Project Like a Film?”, in The Arclight Guidebook to Media History and Digital Humanities, edited by Charles R. Acland and Eric Hoyt, 184-194. Sussex: REFRAME Books, 2016.
• Ruszev, Szilvia. 2018. “Rhythmic Trajectories – Visualizing Cinematic Rhythms in Film Sequences.” Women Cutting Movies: Editors from East and Central Europe (ed. by Adelheid Heftberger and Ana Grgic). Special Issue of Apparatus. Film, Media and Digital Cultures in Central and Eastern Europe 7. DOI: http://dx.doi.org/10.17892/app.2018.0007.146
• Strauven, Wanda, “Media Archaeology: Where Film History, Media Art, and New Media (Can) Meet”, in Preserving and Exhibiting Media Art. Challenges and Perspectives, edited by Julia Noordegraaf, Cosetta G. Saba, Barbara Le Maître and Vincenz Hediger, 59-80. Amsterdam: Amsterdam University Press, 2013.
• Tran, Tony, “Coding and Visualizing the Beauty in Hating Michelle Phan: Exploratory Experiments with YouTube, Images, and Discussion Boards”, in The Arclight Guidebook to Media History and Digital Humanities, edited by Charles R. Acland and Eric Hoyt, 196-215. Sussex: REFRAME Books, 2016.
• Verhoeven, Deb, “Visualising Data in Digital Cinema Studies: More than Just Going through the Motions?”, in Alphaville: Journal of Film and Screen Media no. 11 (2016): 92-104.

Digital Exhibition Design and Museology

• Keidl, Philipp Dominik, “Toward a Public Media Archaeology: Museums, Media, and Historiography”, in The Moving Image: The Journal of the Association of Moving Image Archivists, Vol. 17, No. 2 (Fall 2017), pp. 20-39
• Olesen, Christian Gosvig, “Panoramic Visions of the Archive in EYE’s Panorama: A Case Study in Digital Film Historiography” in Cinema & Cie, Vol. XIV, No. 22/23 (2014): 145-160
• Smith, Caylin, “Extending the Archival Life of Film: Presenting Film History with EYE Film Institute Netherlands’ Panorama” in Exposing the Film Apparatus: The Film Archive as a Research Laboratory, edited by Giovanna Fossati and Annie van den Oever. Amsterdam: Amsterdam University Press, 2016.