▶︎ Arnau Gifreu-Castells, “Mapping Trends in Interactive Non-fiction through the Lenses of Interactive Documentary”, ICIDS 2014 (International Conference on Interactive Digital Storytelling), in Mitchell et al. (Eds.): ICIDS 2014, LNCS 8832. Springer International Publishing Switzerland (2014): 156-163. ISBN: 978-3-319-12336-3.
▶︎ Arnau Gifreu-Castells, “Educational multimedia applied to the interactive nonfiction area. Using interactive documentary as a new model for learning”, Proceedings of Edulearn14 Conference (2014): 1306-1315. ISBN: 978-84-617-0557-3 /ISSN: 2340-1117.
▶︎ Arnau Gifreu-Castells, “El documental interactivo. Evolución, caracterización y perspectivas de desarrollo” [The interactive documentary. Evolution, features and development perspectives], UOC Press. Editorial UOC (2013): 1-255. ISBN: 978-84-9064-035-7.
▶︎ Arnau Gifreu-Castells, “The case of Guernica, pintura de guerra, the first catalan interactive documentary project”, Studies in documentary film v2,16. Intellect (2012): 229-243. ISSN: 1750-3280.
▶︎ Arnau Gifreu-Castells, “The interactive nonfiction as 2.0 educational strategy. The case of the interactive documentary, INTED 2012 (6th International Technology, Education and Development Conference). Conference proceedings, (2012). ISBN 978-84-695-2071-0.
▶︎ Arnau Gifreu-Castells, “The interactive documentary. Definition proposal and basic features of the new emerging genre”, Mcluhan Galaxy Conference 2011. Conference proceedings (2011): 367-378. ISBN 978-84-938802-1-7.
▶︎ Arnau Gifreu-Castells, “The interactive documentary as a discourse on interactive non-fiction: for a proposal of the definition and categorisation of the emerging genre”, Hipertext 9 (2011). ISSN: 1695-5498
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▶︎ Sean Flynn, Are Interactive Films Transforming Modern Storytelling? Sundance’s New Frontier Has the Answer, IndieWire
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▶︎ Desi Gonzalez, How Sundance’s New Frontier Section Confronts Age-Old Ideas and New Questions, IndieWire
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▶︎ Suvi Helminen, The Interactive Dance Floor, Dox Magazine
▶︎ Suvi Helminen, Balancing Form and Content, Dox Magazine
▶︎ Suvi Helminen, Evolution: An Inside Look at the MIT OpenDocLab, Dox Magazine
▶︎ Suvi Helminen, Interactive Storytelling Tools: Friends or Foes?, Dox Magazine
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▶︎ The New Digital Storytelling Series: Interviews with Leaders in the Field – a collaboration between the MIT Open Documentary Lab and Filmmaker Magazine
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▶︎ Katie Edgerton, How ‘The Occupy Wall Street Collaborative Film’ Demonstrates Crowdsourcing in Action – Indiewire
▶︎ Katie Edgerton, ‘Index’ Fingers at Sundance’s New Frontier – Indiewire
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▶︎ Julie Fischer, How I Learned to Stop Worrying and Love ‘The World Brain’ – Indiewire
▶︎ Julie Fischer, What Sundance’s New Frontier Is Building In (and Out) There – Indiewire
▶︎ Julie Fischer, The Hidden Depths of ‘Coral: Rekindling Venus’ – Indiewire
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▶︎ 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, “The City Seen: strategies of coherence, evocation and simulation in urban representation” in Tigran Haas, ed., Emerging Urbanism (Surrey: Ashgate 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).
▶︎ William Uricchio, “True Confessions: WikiLeaks, Contested Truths, and Narrative Containment” International Journal of Communication 8 (2014): 2567-2573
▶︎ 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 26:1 (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 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, “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 Filmmuseum, 1997): 119-131.
▶︎ 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, “Aktualitaten als Bilder der Zeit,” in KINtop: Jahrbuch zur Erforschung des frühen Films 6 (1997):43-50.
▶︎ William Uricchio, “The City Viewed: The Films of Leyda, Browning, and Weinberg,” in Lovers of Cinema: the first American avant-garde, 1919-1945, edited by Jan-Christopher Horak (Madison: University of Wisconsin Press, 1995): 287-314.
▶︎ 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, “Le film de non-fiction francais et le marche neerlandais: etude de cas preliminaire des films importes en 1912 par Jean Desmet,” with Ester Rutten1895 18 (1995): 223-234.
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