- Roland Barthes, "Rhetoric of the Image" (1964), in Image-Music-Text, trans. Stephen Heath (New York: Noonday Press, 1977), pp. 32-51
- Jean Baudrillard, "Simulacra and Simulations" (1981), in Selected Writings, trans. Mark Poster (Stanford: Stanford University Press, 1988), pp. 166-184
- Guy Debord, "Separation Perfected," in The Society of the Spectacle (1967), trans. Donald Nicholson-Smith (New York: Zone Books, 1994), pp. 11-24
- Don Ihde, "Image Technologies and Traditional Culture," in Postphenomenology: Essays in the Postmodern Context (Evanston: Northwestern University Press, 1993), pp. 43-55
- Jay David Bolter, Writing Space: The Computer, Hypertext, and the History of Writing (Hillsdale, NJ: Lawrence Erlbaum and Associates, 1991), especially Part 1, "The Visual Writing Space" (pp. 15-81)
- Scott Bukatman, Terminal Identity: The Virtual Subject in Postmodern Science Fiction (Durham, NC: Duke University Press, 1993)
- Peter S. Donaldson, "The Shakespeare Interactive Archive: New Directions in Electronic Scholarship on Text and Performance," in Contextual Media, ed. Edward Barrett and Marie Redmond (Cambridge, MA: MIT Press, 1995), pp. 103-127
- Larry Friedlander, "Spaces of Experience on Designing Multimedia Applications," in Contextual Media, ed. Edward Barrett and Marie Redmond (Cambridge, MA: MIT Press, 1995), pp. 163-174
- George P. Landow, ed., Hyper/Text/Theory (Baltimore: Johns Hopkins University Press, 1994), especially Espen J. Aarseth, "Nonlinearity and Literary Theory" (pp. 51-86), Mireille Rosello, "The Screener's Maps" (pp. 121-158), and Gregory L. Ulmer, "The Miranda Warnings" (pp. 345-377)
- Richard A. Lanham, "Elegies for the Book," in The Electronic Word: Democracy, Technology, and the Arts (Chicago: University of Chicago Press, 1993), pp. 195-223
- Dudley Andrew, Concepts in Film Theory (Oxford: Oxford University Press, 1984), especially "Perception" (pp. 19-36) and "Adaptation" (pp. 96-106)
- Mary Ann Doane, "The Voice in the Cinema: The Articulation of Body and Space," in Narrative, Apparatus, Ideology: A Film Theory Reader, ed. Philip Rosen (New York: Columbia University Press, 1986), pp. 335-348
- Peter S. Donaldson, Shakespearean Films/Shakespearean Directors (Boston: Unwin Hyman, 1990)
- Peter Holland, "Two-Dimensional Shakespeare: 'King Lear' on Film," in Shakespeare and the Moving Image: The Plays on Film and Television, ed. Stanley Wells and Anthony Davies (Cambridge: Cambridge University Press, 1994), pp. 50-68
- Jack J. Jorgens, Shakespeare on Film (Bloomington: Indiana University Press, 1976)
- Luke McKernan and Olwen Terris, eds., Walking Shadows: Shakespeare in the National Film and Television Archive (London: British Film Institute, 1994)
- Peter Morris, ed., Shakespeare on Film (Ottawa: Canadian Film Institute, 1972)
- Jill Nelmes, ed., An Introduction to Film Studies (London: Routledge, 1996)
- Kenneth S. Rothwell and Annabelle Henkin Melzer, Shakespeare on Screen: An International Filmography and Videography (New York and London: Neal Schuman, 1990)
- Lisa Starks, ed., Shakespeare and Film: Adaptations, special issue of Post Script 17.1 (fall 1997)
- Lisa Starks, ed., Shakespeare and Film: Derivatives and Variations, special issue of Post Script 17.2 (winter/spring 1998)
- Gary Waller, "Decentering the Bard: The BBC-TV Shakespeare and Some Implications for Criticism and Teaching," in Shakespeare on Television: An Anthology of Essays and Reviews, ed. James C. Bulman and Herb R. Coursen (Hanover, NH: University Press of New England, 1988), pp. 18-30
- Sheldon Zitner, "Wooden O's in Plastic Boxes: Shakespeare and Television," in Shakespeare on Television: An Anthology of Essays and Reviews, ed. James C. Bulman and Herb R. Coursen (Hanover, NH: University Press of New England, 1988), pp. 31-40.
- Marvin Carlson, Theatre Semiotics: Signs of Life (Bloomington: Indiana University Press, 1990), especially "Theater Audiences and the Reading of Performance" (pp. 10-15), "The Iconic Stage" (pp. 75-91), and "Psychic Polyphony" (pp. 95-109)
- Herb R. Coursen, Shakespearean Performance as Interpretation (Newark: University of Delaware Press, 1992)
- Alan Dessen, Elizabethan Stage Conventions and Modern Interpreters (Cambridge: Cambridge University Press, 1984), especially "The Logic of 'This'" (pp. 53-69) and "The Logic of Stage Violence" (pp. 105-129)
- Peter Holland, English Shakespeare: Shakespeare on the English Stage in the 1990's (Cambridge: Cambridge University Press, 1997), especially "Measuring Performance" (pp. 1-20)
- Patrice Pavis, Languages of the Stage: Essays in the Semiology of the Theatre (New York: Performing Arts Journal Publications, 1993), especially pp. 111-130
- Mary J. Carruthers, "Memory and the Book," in The Book of Memory: A Study of Memory in Medieval Culture (Cambridge: Cambridge University Press, 1990), pp. 221-257
- Roger Chartier, General Introduction to The Culture of Print: Power and the Uses of Print in Early Modern Europe, ed. Roger Chartier, trans. Lydia G. Cochrane (Princeton: Princeton University Press, 1989), pp. 1-10
- A. C. Crombie, Science, Optics, and Music and Medieval and Early Modern Thought (London: Hambledon Press, 1990)
- Claire Farago, "Jean de Léry's Anatomy Lesson: The Persuasive Power of Word and Image in Framing the Ethnographic Subject," in European Iconography East and West, ed. György E. Szony (Leiden: Brill, 1996), pp. 109-127
- R. A. Foakes, Illustrations of the English Stage, 1580-1642 (Stanford: Stanford University Press, 1985)
- Don Ihde, "Perceptual Teleologies," in Postphenomenology: Essays in the Postmodern Context (Evanston: Northwestern University Press, 1993), pp. 73-87
- Ruth Samson Luborsky and Elizabeth Morley Ingram, A Guide to English Illustrated Books 1536-1603 , Medieval and Renaissance Texts and Studies (Tempe: Arizona State University, 1998)
- David Summers, "On the Histories of Artifacts," Art Bulletin 74.4 (1994): 1590-592.
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