William Moritz Archive
- The William Moritz Project
- Abstract Films of the 20s
- The Importance of Being Fischinger
- You Can’t Get Then from Now
- James Whitney Retrospective
- Video Seen: the Roots of Music Videos
- Who’s Who in Filmmaking: James Whitney
- Restoring the Aesthetics of Early Abstract Films
- Resistance and Subversion in Animated Films of the Nazi Era: the Case of Hans Fischerkoesen
- Influence and Inspiration: The Great Tradition of Visual Music
- Towards an Aesthetic of Visual Music
- Visual Music: Cave Paintings to MTV?
- Color Harmony/Color Music
- Jules Engel, Post-Modernist
- Concerning the Aesthetic Autonomy of Animation and Why the Short Film is Not Just a Shorter Feature
- Absolut Panushka
- The Absolute Film
- Gasparcolor: Perfect Hues for Animation
- Color Music: Integral Cinema
- Animation in the Post-Industrial Era
- Restoring Experimental Films
- Narrative Strategies for Resistance and Protest in Eastern European Animation
- Norman McLaren and Jules Engel: Post-Modernists
- Restoring the Aesthetics of Early Abstract Films
- Enlightenment
- Jordan Belson, Last of the Great Masters
- Jordan Belson Biography
- Pat O’Neill biography
- Stan Vanderbeek Biography
- Ed Emshwiller Biography
- Oskar Fischinger Biography
- Hy Hirsh Biography
- Oskar Fischinger: Artist of the Century
- Weekend in Los Angeles
- Beyond ‘Abstract’ Criticism
- Non-Objective Film: The Second Generation
- Some Observations on Non-Objective and Non-Linear Animation
- Hy Hirsh