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Mark Williams received both of his graduate degrees in Critical Studies from The School of Cinema-Television at The University of Southern California. He has previously taught at USC, Loyola Marymount, UC Santa Barbara, and Northwestern. His courses at Dartmouth include surveys of U.S. and international film history, television history and theory, and new media history and theory.
Journal of e-Media Studies, founding editor, (http://journals.dartmouth.edu/joems/) .
Interfaces:Studies in Visual Culture, series co-edited with A Randolph, (https://web.archive.org/web/20210420095144/http://www.upne.com/series/IV...) .
“Key Frames to Cinema History: New Studies of The Exhibitor Catalogs of The American Mutoscope and Biograph Company” in Domitor 2020 Proceedings: Crafts, Trades, and Techniques of Early Cinema. Valentine Robert, Louis Pelletier, Sirois Trahan, Priska Morissey, Ian Christie, Tami Williams eds. (Indiana University Press, forthcoming) [DOMITOR series]
“The Media Ecology Project: Collaborative DH Synergies to Produce New Research in Visual Culture History” with John Bell. Digital Humanities Quarterly (15:1) Special Issue on AudioVisual Data in DH, March, 2021.
Remote Possibilities: A History of Early Television in Los Angeles, 1930-1952 (forthcoming, Duke University Press)
Passing for History: Humor and Early Television Historiography book manuscript.
“Re-Wiring Media History: Inter-Medial Borders"
ACTION: Audio-visual Cinematic Time-line Interaction, Organization, and Navigation (NEH Digital Humanities Start-Up Grant, co-PI with Prof. Michael Casey)
Media Ecology Project, developing a virtuous cycle of new interdisciplinary scholarship about archival media that adds value back to participating archives.
As the name of the project suggests, MEP is fundamentally 1) a sustainability project that 2) develops literacies of moving image and visual culture history, and 3) functions as a collaborative incubator that fosters new research questions and methods ranging from traditional Arts and Humanities close-textual analysis to computational distant reading. New research questions in relation to these workflows will literally transform the value of media archives and support the development of interdisciplinary research and pedagogy/curricular goals (e.g., media literacy) regarding the study of visual culture history and its legacies in the 21st century.