Chapters in Books

Thomas Elsaesser, "Die Kamera in der Küche: Werben für das Neue Wohnen," G. Koch (ed.), Umwidmungen: Architektonische und kinematographische Räume (Berlin: Verlag Vorwerk8, 2005) 36-56. More

Thomas Elsaesser, "Make-Believe Vienna and Matter-of-Fact Berlin: From the Life of a Cinematic Cliché," John Warren and Ulrike Zitzlsperger (eds.), Vienna Meets Berlin: Cultural Interactions 1918-1938 (New York, Bern, Berlin: Peter Lang, 2005) 243-256. More

Thomas Elsaesser, "The Presence of Pathé in Germany," Michel Marie et Laurent Forestier (eds.), La Firme Pathé Freres 1896-1914 (Paris: Association Française de Recherche sur l’Histoire du Cinéma, 2004) 393-406. More

Thomas Elsaesser, "Historie rané kinematografie a multimedia: Archeologie moznynch boudoucnosti?" Peter Szczepanik (ed.), Nova Filmova Historie (Praha: Herrmann & Synove, 2004) 113-131. More, Review

Thomas Elsaesser, "Louis Lumiere – prvni virtualista kinematografie?" Peter Szczepanik (ed.), Nova Filmova Historie (Praha: Herrmann & Synove, 2004) 246-262. More, Review

Thomas Elsaesser, "Zrcadlovost a pohlceni," Peter Szczepanik (ed.), Nova Filmova Historie (Praha: Herrmann & Synove, 2004) 323-341. More, Review

Thomas Elsaesser, "Germany Face to Face with Hollywood: Looking into a Two Way Mirror," Alexander Stephan (ed.), Americanization and Anti-Americanism: The German Encounter with American Culture after 1945 (New York: Berghahn Books, 2004) 166-185. More, Text

Thomas Elsaesser, "Evolutionary Imagineer: Kubrick's Authorship," H.P. Reichmann (ed.), Stanley Kubrick (Frankfurt: Deutsches Filmmuseum, 2004) 136-147. More and More

Thomas Elsaesser, "Going Live: Body and Voice in Early Sound Cinema," Dominique Nasta and Didier Huvelle (eds.), Le son en perspective/New Perspectives in Sound Studies (Bruxelles, Bern, Berlin: Peter Lang, 2004) 155-168. More

Thomas Elsaesser, "Filmmaker, Artist, Media Theorist," Thomas Elsaesser (ed.) Harun Farocki: Working on the Sight Lines (Amsterdam: Amsterdam UP, 2004) 11-40. More

Thomas Elsaesser, "Working on the Margins," T. Elsaesser (ed.) Harun Farocki: Working on the Sight Lines (Amsterdam: Amsterdam UP, 2004) 95-108. More

Thomas Elsaesser, "Political Filmmaking after Brecht," T. Elsaesser (ed.) Harun Farocki: Working on the Sight Lines (Amsterdam: Amsterdam UP, 2004) 133-153. More

Thomas Elsaesser, "Making the World Superfluous: an Interview," T. Elsaesser (ed.) Harun Farocki: Working on the Sight Lines (Amsterdam: Amsterdam UP, 2004) 177-189. More

Thomas Elsaesser, "American Auteur Cinema – The Last or First Great Picture Show," Thomas Elsaesser [with A. Horwath and N. King] ed., The Last Great American Picture Show (Amsterdam: Amsterdam UP, 2004) 37-69. More

Thomas Elsaesser, "The Pathos of Failure: Notes on the Unmotivated Hero," Thomas Elsaesser [with A. Horwath and N. King] ed., The Last Great American Picture Show (Amsterdam: Amsterdam UP, 2004) 279-292. More

Thomas Elsaesser, "Was wäre wenn du schon tot bist? Vom post-modernen zum post-mortem Kino, am Beispiel von ‘Memento," Christine Rüffert, Irmbert Schenk et al. (eds.), Zeitsprünge (Berlin: Bertz, 2004) 115-125. More

Thomas Elsaesser, "L’Hypothèse du Tableau Volé, or How to Add(ress) an Absence," A. Martin (ed.) Raoul Ruiz: An Annotated Filmography (Rotterdam: IFFR, 2004), Text, More

Thomas Elsaesser [with Willem Pool], "Film," D. Kohnstamm en Elly Cassee (eds.) Nieuw Cultureel Woordenboek (Amsterdam: Anthos, 2004) 580-592. More

Thomas Elsaesser, "The New German Cinema," Elizabeth Ezra (ed.), European Cinema (Oxford: Oxford UP, 2003) 194-213. More, Review

Thomas Elsaesser, "Weimar Cinema, Mobile Selves and the Anxious Male," Dietrich Scheunemann (ed.), Expressionist Film: New Perspectives (Woodbridge: Camden House 2003) 33-71. More and More, Review

Thomas Elsaesser, "Tarnformen der Trauer," H. Loewy & M. Froelich (eds.), Auschwitz-Gelächter? Holocaust und Komödie (München: text + kritik, 2003) 144-169. More, Review, Review, Review

Thomas Elsaesser, "Technical Constraints or Political Compliance: Documentary Styles of the 1920s and 1930s in an International Context," P. Zimmermann and K. Hoffmann (eds.), Der Triumph der Bilder: Kultur-und Dokumentarfilme vor 1945 (Konstanz: UVK Verlag, 2003) 121-143. More

Thomas Elsaesser, "New German Cinema and History: Alexander Kluge," Tim Bergfelder, Erica Carter, Deniz Göktürk (eds.), The German Cinema Book (London: BFI Publishing, 2003) 182-190. More, Review, Review

Thomas Elsaesser, "...und sonst garnichts! Marlene Dietrich's Star Discourse between Negation and Deferral," Laura Vichi (ed.) L'Uomo Visibile/The Visible Man (Udine: Forum 2002) 395-399. More

Thomas Elsaesser, "American Graffiti," Jürgen Felix (ed.), Die Postmoderne im Kino: Ein Reader (Marburg: Schüren Verlag, 2002) 38-64. More

Thomas Elsaesser (and Malte Hagener), "Walter Ruttmann," Stefan Andriopoulos und Bernhard J. Dotzler (eds.) Das Jahr 1929: Beiträge zur Archäologie der Medien (Suhrkamp, 2002) 316-349. More, Review

Thomas Elsaesser, "Going Live: Körper und Stimme im frühen Tonfilm," G. Krenn, A. Loacker (eds)., Zauber der Boheme (Vienna: Filmarchiv Austria, 2002) 271-298. More

Thomas Elsaesser, "Inside the Mind: A Soul of Dynamite", Carlos Aguilar (ed.), Cine fantástico y de terror alemán, 1913-1927 (San Sebastian: Donostia Kultura, 2002). More, English Text

Thomas Elsaesser, "Der Blockbuster als Zeitcontainer," D. Hensel, R. Reck, S. Zielinski (eds.), Lab - Goodbye, Dear Pigeons (Cologne: Walther König, 2002) 310-323. More

Thomas Elsaesser, "History Memory Identity and the Moving Image: One Train May be Hiding Another," L. Belau and P. Ramadanovic (eds.), Topologies of Trauma (New York; Other Press, 2002) 61-72. More, Text

Thomas Elsaesser, "The Blockbuster: Everything Connects, But Not Anything Goes," Jon Lewis (ed.,) The End of Cinema - As We Know It (New York: New York UP, 2001) 11-22. More, Review, Review

Thomas Elsaesser, "Falling in Love Again (And Again): Marlene Dietrich und die ewig singende Säge," Jürgen Felix (ed.) Die Wiederkehr des Gleichen (Marburg: Schüren 2001) 347-356.

Thomas Elsaesser, "Cinema digital: apresentacao, acontecimento, tempo," Dario Oliveira (ed.), Digital Cinema (Porto: Rocha, 2001) 99-129.

Thomas Elsaesser, "Walter Reisch: Vienna-Berlin-London-Hollywood," Ilona Halberstadt (ed.) Pix3 (London: BFI Publishing, 2001) 43-67. More

Thomas Elsaesser, "Realität zeigen: der frühe Film im Zeichen Lumieres," Ursula von Keitz and Kay Hoffmann (eds), Die Einübung des dokumentarischen Blicks (Marburg: Schüren, 2001) 27-50. More

Thomas Elsaesser, "Die 'Gegenwärtigkeit' des Holocausts im Neuen Deutschen Film," C. Dillmann et al (eds), Die Vergangenheit in der Gegenwart. Konfrontationen mit den Folgen des Holocaust im deutschen Nachkriegsfilm (Munich: text+kritik, 2000) 54-67. More, Review

Thomas Elsaesser, "Innocence Restored: Reading and Re-reading a Classic: Metropolis," Michael Minden and Holger Bachmann (eds.), Metropolis (Rochester: Camden House, 2000) 123-139. More

Thomas Elsaesser, "The New New Hollywood: Cinema beyond Distance and Proximity," Ib Bjondebjerg (ed.), Moving Images, Culture and the Mind (Luton: University of Luton Press, 2000) 187-204. Review

Thomas Elsaesser, "Wie der frühe Film zum Erzählkino wurde," Irmbert Schenk (ed)., Erlebnisort Kino (Marburg: Schüren, 2000) 34-54. More

Thomas Elsaesser, "From Censorship to Over-Exposure: The Red Army Fraction," L. Quaresima, A. Rengo, L. Vichi (eds), I limiti della rappresentazione/The Bounds of Representation (Udine: Forum, 2000) 289-308. More

Thomas Elsaesser, "Apres Lumière: une invention sans avenir, dans l'avenir," Philippe Dujardin, André Gardies et al (eds), L'aventure du Cinématographe (Lyon: Aléas, 1999) 279-290.

Thomas Elsaesser, "The Dandy in Hitchcock," Richard Allen, S. Ishii-Gonzales (eds), Alfred Hitchcock: Centenary Essays (London: BFI, 1999) 3-14. More, Review

Thomas Elsaesser, "Der Dandy Hitchcock," Lars Olav Beier, Georg Seesslen (eds), Alfred Hitchcock (Berlin: Bertz, 1999) 21-38. More, Review

Thomas Elsaesser, "Antigone Agonistes: Urban Guerilla or Guerilla Urbanism? The RAF, Germany in Autumn and Deathgame," Joan Copjec and Michael Sorkin (eds), Giving Ground:The Politics of Propinquity (London: Verso, 1999) 267-302. More, Text

Thomas Elsaesser, "Heavy Traffic: La Mitteleuropa va in America," G.P. Brunetta (ed.), Storia del cinema mondiale: L'Europa (Turin: Einaudi, 1999) 595-615. More

Thomas Elsaesser, "Presenting Stanley Cavell," Eloe Kingma et al (eds.), ASCA Yearbook (Amsterdam: ASCA 1999) 107-115.

Thomas Elsaesser, "Sounds Beguiling: On the Origins and Transformations of Music Genres in Early German Cinema," L. Quaresima, A. Rengo, L. Vichi (eds), La Nascita dei generi cinematographici (Udine: Forum, 1999) 391-406. More

Thomas Elsaesser, "Re-Writing the Classic Film Image," Mieke Bal (ed.), The Practice of Cultural Analysis: Exposing Interdisciplinary Interpretation (Stanford: Stanford UP, 1999) 60-74. More, Review

Thomas Elsaesser, "Endlosschleife Metropolis," Irmbert Schenk (ed)., Dschungel Großstadt (Marburg: Schüren, 1999) 29-56. More

Thomas Elsaesser, "German Cinema," Colin MacCabe, Century of Cinema (BFI London, 1998). More

Thomas Elsaesser, "Truth or Dare: Reality Checks on Indexicality, or the Future of Illusionism," Anu Koivunnen and Astrid Soderbergh Widding (eds), Cinema Studies into Visual Theory? (Turku: D-Vision, 1998) 31-50.

Thomas Elsaesser, "Das Kino der Weimarer Republik," Hans Michael Bock and Geoffrey Nowell-Smith (Hsg.), Die Weltgeschichte des Films (Stuttgart: Metzler, 1998) 130-142. More

Thomas Elsaesser, "Raum-Körper: Peter Greenaways Re-Installation des Kinos," J. Felix (ed.), Unter der Haut: Signaturen des Selbst im Kino der Körper (St. Augustin: Gardez Verlag, 1998) 45-66. More

Thomas Elsaesser, "Time Travel, Trauma and Thresholds," R-M. Friedmann, N.Gertz et al (eds) Blurred Boundaries (Tel Aviv, Kolnoa: Studies in Cinema & Television No. 1, 1988) 1-18.

Thomas Elsaesser, "Le Cinema allemand: image et idee," Colin MacCabe (ed.) De Fritz Lang à Lars von Trier: Cinémas d'Europe du Nord (Paris: BFI/Mille et une Nuit, 1998) 11-43. More

Thomas Elsaesser, "American Friends: Hollywood in New German Cinema," Geoffrey Nowell-Smith and Steve Ricci (eds), Hollywood and Europe (BFI Publishing: London, 1998) 142-155. More, Text

Thomas Elsaesser, "Specularity and Engulfment: Francis Ford Coppola and Bram Stoker's Dracula," S. Neale and M. Smith (eds), Contemporary Hollywood Cinema (London: Routledge, 1997) 191-208. More, Review

Thomas Elsaesser, "Mit diesen Bildern hat es angefangen: Harun Farocki," R Aurich, U Kriest (eds), Der Ärger mit den Bildern (Konstanz: UVK Medien, 1998) 111-144. More

Thomas Elsaesser, "Convergence, Divergence, Difference"; "Louis Lumière: the Cinema's First Virtualist?"; "Fantasy Island - Dream Logic as Production Logic"; "Digital Cinema - Delivery Event, Time," all in Thomas Elsaesser and Kay Hoffmann (eds.), Cinema Futures: Cain, Abel or Cable? - The Screen Arts in the Digital Age (Amsterdam: Amsterdam UP, 1998)  9-26; 45-62; 143-158; 201-222. More, Review

Thomas Elsaesser, "Augenweide am Auge des Maelstroms? - Coppola inszeniert Bram Stoker's Dracula als den ewig jungen Mythos Hollywood," Andreas Rost und Mike Sandbothe (eds.), Die Filmgespenster der Postmoderne (Frankfurt: Verlag der Autoren, 1998) 63-105. More, Review

Thomas Elsaesser, "El cinema aleman: sus origines y la primera decada," Jenaro Talens and Santos Zunzunegui (eds), Historia general del cine, vol III (Madrid: Ediciones Catedra, 1998) 135-158. More

Thomas Elsaesser, "Ingmar Bergman - Person and Persona: The Mountain of Modern Cinema on the Road to Morocco," H. Perridon (ed.), Strindberg, Ibsen and Bergman: Scandinavian Film and Drama (Maastricht: Shaker, 1998) 35-60. Review

Thomas Elsaesser, "Über den Nutzen der Enttäuschung: Filmkritik zwischen Cinephilie und Nekrophilie," Irmbert Schenk (ed.), Filmkritik Bestandsaufnahme und Perpektiven (Marburg: Schüren, 1998) 91-114. More

Thomas Elsaesser, "Ethnicity, Authenticity and Exile: A Counterfeit Trade?" H. Naficy (ed.), Exile, Home and Homeland (New York: Routledge, 1998) 97-124. More

Thomas Elsaesser, "Early German Cinema: Case Studies or Recasting It All," J. Fullerton (ed), Celebrating 1895 (London: John Libbey, 1998) 264-277. More, Review

Thomas Elsaesser and Michael Wedel, "Apocalypse Now: The Hollow Heart of Hollywood," Gene Moore (ed.) Joseph Conrad on Film (Cambridge: Cambridge UP, 1997) 151-175. More

Thomas Elsaesser, "History and Hyperbole: The Archaeology of Interactive Systems," Ulla Britta Lagerroth, Hans Lund, Erik Hedling (eds), Interart Poetics (Amsterdam/Atlanta, Ga: Rodopi, 1997) 337-340. More

Thomas Elsaesser, "A Cinema of Vicious Circles," L. Kardish (ed.), Rainer Werner Fassbinder (New York: Museum of Modern Art, 1997) 15-25. More, Review

Thomas Elsaesser, "De vroege filmgeschiedenis: semi-finished?" K. Dibbets et al (eds), Hondert Jaar Film: (Amsterdam: IISG, 1997) 33-50.

Thomas Elsaesser, "What Might We Mean by Media History?" Knut Hickethier, Eggo Müller, Rainer Rother (eds.), Der Film in der Geschichte (Berlin: edition sigma, 1997) 98-105. More

Thomas Elsaesser, "Introducing Harun Farocki," Eloe Kingma et al (eds.) Visions and Voices: ASCA Yearbook (Amsterdam: ASCA Press, 1997) 101-105.

Thomas Elsaesser, "Das Vermächtnis des Dr Caligari: film noir und 'deutscher' Einfluß?" S. Cargnelli and M. Omasta, Schatten. Exil (Vienna: PVS, 1997) 19-54.

Thomas Elsaesser, "Zwischen Filmtheorie und Cultural Studies: Mit Kracauer (noch einmal) im Kino," Thomas Koebner (ed.), Idole des deutschen Films (Munich: edition text + kritik, 1997) 22-40. More

Thomas Elsaesser, "Del Kaiser a la crisis de Weimar," M. Palacio and Julio Perez Perucha (eds), Historia general del cine, vol V (Madrid: Ediciones Catedra, 1997) 13-60. More

Thomas Elsaesser, "Prvi vlak morda zakriva drugega," Melita Zaijc (ed), Avdio-vizualni mediji in identitete (Slovenska Kinoteka: Ljubljana, 1996) 51-57.

Thomas Elsaesser, "Cinema - The Irresponsible Signifier," T. Ginsberg and K.M. Thompson (eds), Perspectives on German Cinema (New York: G.K. Hall, 1996) 537-557. More, Review

Thomas Elsaesser, "Fassbinder's Lola und die Logik des Mehrwerts, oder: nicht nur wer zahlt, zählt," Thomas Elsaesser, François Lyotard, Edgar Reitz, Der zweite Atem des Kinos (Munich: Verlag der Autoren, 1996) 53-88. More, Review

Thomas Elsaesser, "Early German Cinema: A Second Life?" Thomas Elsaesser (ed.), A Second Life: German Cinema's First Decades (Amsterdam: Amsterdam UP, 1996) 7-37. More

Thomas Elsaesser, "German Cinema 1986-1929," Geoffrey Nowell-Smith (ed.), Oxford World History of Cinema (Oxford: Oxford UP, 1996) 136-151. More, Review

Thomas Elsaesser, "Spectators of Life: Time, Place and Self in the Films of Wim Wenders," Roger F. Cook and Gerd Gemünden (eds.), The Cinema of Wim Wenders (Wayne State UP, 1996) 240-256. More

Thomas Elsaesser, "Chacun au monde a deux patries: Robert Siodmak und das Paris der 30er Jahre," Sibylle M. Sturm and Arthur Wohlgemuth (ed.), Hallo? Berlin? Ici Paris! (Munich: CineGraph/ edition text + kritik, 1996) 81-100. More, Review

Thomas Elsaesser, "Flieger, grüß mir die Sonne: Oesterreich und Walter Reisch," R. Beckermann and C. Bluemlinger (eds), Ohne Untertitel: Kino in Oesterreich (Wien: Sonderzahl, 1996) 325-354. More

Thomas Elsaesser, "Ernst Lubitsch," Geoffrey Nowell-Smith (ed.), Oxford World History of Cinema (Oxford: Oxford UP, 1996) 167-168. More, Review

Thomas Elsaesser, "Pragmatik des Audiovisuellen: Rettungsboot auf der Titanic?" Gottfried Schlemmer (ed.), Kinoschriften 4 (Wien: Synema, 1996) 107-120.

Thomas Elsaesser, "Introduction to Slavoj Zizek," Thomas Elsaesser et al (eds.), Brief: ASCA Yearbook (Kampen: Kok Pharos, 1996) 48-50.

Thomas Elsaesser, "One Train May Be Hiding Another: History, Memory, Identity," The Lowlands - Yearbook of Flemish Studies (Rekkem: Ons Erfdeel, 1996) 121-129. Text

Thomas Elsaesser, "Peter Greenaway," Philip Dodd, Ian Christie (eds), Spellbound: Art and Film (London: Hayward Gallery/BFI, 1996) 76-84. Review

Thomas Elsaesser, "Subject Positions, Speaking Positions: From Holocaust and Heimat to Shoah and Schindler's List," V. Sobchack (ed.), The Persistence of History (New York: Routledge, 1996) 235-287. Review

Thomas Elsaesser, (editor and co-author), ca 420 entries/60.000 words in G. Vincendeau, et al (eds.) European Film Encyclopaedia (London: Cassell, 1995).

Thomas Elsaesser, "Austria" G. Vincendeau, et al (eds.) European Film Encyclopaedia (London: Cassell, 1995) 21-24.

Thomas Elsaesser, "Germany" G. Vincendeau, et al (eds.) European Film Encyclopaedia (London: Cassell, 1995) 172-177.

Thomas Elsaesser, "Melodramma e 'temporalita'," V. Zagarrio (ed.), Studi Americani (Venice: Marsilio, 1994) 345-357.

Thomas Elsaesser, "From Sign to Mind: The Second Film Semiology?" W. Buckland (ed.), The Film Spectator: From Sign to Mind (Amsterdam: Amsterdam UP, 1995) 3-7.

Thomas Elsaesser, "Anmerkungen zum Familienmelodram," C.Cargnelli, M.Palm (eds.), Und Immer Wieder Geht die Sonne Auf (Wien: PVS Verlag, 1994) 93-130. More

Thomas Elsaesser, "Twee Nieuwe Duitse Cinemas," M. Dominicus (ed), Das Kleine Fernsehspiel (Rotterdam: Filmfestival Rotterdam, 1994) 20-28.

Thomas Elsaesser (with Emile Poppe), "Film and Linguistics," R.E. Asher (ed), The Encyclopaedia of Language and Linguistics (Oxford: Pergamon Press, 1994) vol 3, 1225-1241. Text

Thomas Elsaesser, "Studying TV Audiences Today: Voodoo, Shamans and Prospectors?" Jostein Gripsrud, Kathrine Skretting (eds), History of Moving Images (Oslo: Levende Bilder, 1994) 171-179. Text

Thomas Elsaesser, "Television after Television"; "Television: Questions of Quality"; "Zapping One's Way into Quality: Arts Programmes on TV"; "Literature after Television"; "Gee-Wizards of the Box," all in Thomas Elsaesser, Jan Simons and Lucette Bronk (eds), Writing for the Medium: Television in Transition (Amsterdam: Amsterdam UP, 1994) 9-23; 59-82; 96-104; 147-158; 191-210.

Thomas Elsaesser, "Imagination Is like a Muscle: You Have to Give It Daily Exercise," Thomas Elsaesser, Robert Kievit, Jan Simons (eds), Double Trouble: Chiem van Houweninge on Writing and Filming (Amsterdam: Amsterdam UP, 1994) 10-15.

Thomas Elsaesser, "The German Post-war Cinema and Hollywood," David Ellwood, Rob Kroes (eds.), Hollywood and Europe (Amsterdam: Vrije Universiteit Press, 1994) 283-302. Review

Thomas Elsaesser, "TV through the Looking Glass," Nick Browne (ed), American Television (Langhorne, PA: Harwood, 1993) 97-120.

Thomas Elsaesser, "Leni Riefenstahl: The Body Beautiful, Art Cinema and Fascist Aesthetics," Pam Cook, Philip Dodd (eds), Women and Film (London: Scarlet Press, 1993) 186-197. More, Review

Thomas Elsaesser, "La Ufa," G. Spagnoletti (ed), Schermi Germanici (Venezia: Marsilio, 1993) 11-25.

Thomas Elsaesser, "Heavy Traffic: Perspektive Hollywood," Jörg Schöning (ed), London Calling (Munich: edition text + kritik, 1993) 21-41.

Thomas Elsaesser, "Holland to Hollywood and Back: Or Do We Need a National Cinema?" J.C.H. Blom, J.Th. Leerssen, P. de Rooy (eds) De onmacht van het grote: cultuur in Europa (Amsterdam: Amsterdam UP, 1993) 81-95. Text

Thomas Elsaesser, "Internationaler Stil und Industrie: das Wilhelminische Kino,"  KINtop 1 (Frankfurt: Roter Stern, 1993) 1-17.

Thomas Elsaesser, "Fassbinder, Fascism and the Film Industry: Lili Marleen," Joachim Schmidt-Sasse (ed.), Widergänger (Munster: MAkS, 1993) 265-285.

Thomas Elsaesser, "Un récit de deux detours: Fritz Lang and Lily Latté," B. Eisenschitz, P. Bertetto (eds), Fritz Lang (Paris/Turin: Lindau, 1993) 177-187. German Text

Thomas Elsaesser, "Zwischen Mord und Selbstmord: Die Politik der Verzweiflung?" G. Schlemmer/ G. Haberl (eds.,) Kinoschriften: Jahrbuch der Gesellschaft für Filmtheorie 3 (1992) 57-87.

Thomas Elsaesser, "Krise zwischen Kunst und Kommerz: Die Ufa in den 20er Jahren," H.M Bock/M. Töteberg, (eds.), Das Ufa Buch (Frankfurt: 2001, 1992) 96-106

Thomas Elsaesser, "E.A.Dupont: émigrant ou vagabond?" J. Aumont, D. Paini (eds), Les cinéastes en exil (Paris: La Cinémathèque française, 1992) 67-85.

Thomas Elsaesser, "The New German Cinema's Historical Imaginary," C. Wickham, B. Murray, (eds.), Framing the Past: The Historiography of German Cinema and Television (Southern Illinois UP, 1992) 280-307. Review

Thomas Elsaesser, "Tales of Sound and Fury," G. Mast, M. Cohen, L. Braudy (eds.) Film Theory And Criticism (New York: Oxford UP, 1992) 244-258.

Thomas Elsaesser, "Lulu und der Stromableser," B. Riff, G. Schlemmer, E. Wiesmayr (eds.) Georg Wilhelm Pabst (MAkS: Münster, 1992) 77-114.

Thomas Elsaesser, "Hyper-, Retro-, or Counter-: European Cinema and Third Cinema Between Hollywood and Art Cinema," J. King, A. Lopez, M. Alvarado (eds.), Mediating Two Worlds: The Americas and Europe 1492-1992 (London: BFI Publishing, 1992) 119-135. Text

Thomas Elsaesser, "Images for Sale," L. Friedman (ed.), Fires Were Started: British Cinema under Thatcher (Minneapolis: Minnesota UP, 1992) 52-69.

Thomas Elsaesser, "Author, Actor, Showman: Reinhold Schünzel's Hallo Caesar," R. Dyer, G. Vincendeau (eds.), Popular European Cinema (London: Routledge, 1992) 72-86.

Thomas Elsaesser, "Dimendicando Fassbinder?" G. Spagnoletti (ed.), Rainer Werner Fassbinder (Rome: Carte Segrete, 1992) 46-55.

Thomas Elsaesser, "Il cinema europeo, la Germania e Hollywood 1927-34/ The European Cinema: Germany and Hollywood 1927-34," G. Muscio (ed.) Prima dei Codici: Alle Porte di Hays (Venezia: Fabbri Editori, 1991) 201-212.

Thomas Elsaesser, "Filmgeschichte - Firmengeschichte - Familiengeschichte: Der Übergang vom Wilhelminischen zum Weimarer Kino," H.M.Bock, C.Lenssen (eds.) Joe May (Munich: text und kritik, 1991) 11-30.

Thomas Elsaesser, "Tales of Sound and Fury," M. Landis (ed), Imitiations of Life: Explorations of Melodrama (Ohio: Wayne State UP, 1991) 44-79.

Thomas Elsaesser, "Mirror, Muse, Medusa: Experiment Perilous," T. Elsaesser, K. Dibbets (eds.) Nieuwe Doelen (Amsterdam: University of Amsterdam, 1991) 21-34. Text

Thomas Elsaesser, "Pabst's Dreigroschenoper: Offenes Spiel mit doeltem Boden," U.Jung, W.Schatzberg (eds.), Filmkultur zur Zeit der Weimarer Republik (Munich-London-Paris: K.G.Saur Verlag, 1991) 153-173.

Thomas Elsaesser, "La misen-en-scene des objets," H.Hurst, H. Gassen (eds.), Tendres Ennemis (Paris: L'Harmattan, 1991), 185-194. Also published in German "Die Inszenierung der Objekte," H. Hurst, H. Gassen (eds.), Kameradschaft/Querelle (Munich: CICIM, 1991) 173-184.

Thomas Elsaesser, "Primary Identification and the Historical Subject," Ron Burnett, ed., Explorations in Film Theory (Bloomington, Indiana UP, 1991) 86-99. More

Thomas Elsaesser, "Social Mobility and the Fantastic," Mike Budd, ed., The Cabinet of Dr Caligari: Texts, Contexts, Histories (New Brunswick: Rutgers UP 1990) 171-189.

Thomas Elsaesser, "National Subjects International Style: Navigating Early German Cinema," P. Cherchi Usai and Lorenzo Codelli, eds., Before Caligari (Pordenone: Biblioteca dell'Imagine, 1990) 338-355.

Thomas Elsaesser, "Out of the Past," Vito Zagarrio, ed., B-Dreams (Siena: Ubulibri, 1990) 87-89.

Thomas Elsaesser, "Transparent Duplicities: The Threepenny Opera," Rick Rentschler, ed., G.W. Pabst (New Brunswick, NJ: Rutgers Univer­sity Press, 1990) 103-115.

Thomas Elsaesser, "From Anti-Illusionism to Hyper-Realism: Brecht and the Cinema," Colin Visser and Pia Kleber (eds.), Bert Brecht Thirty Years After (Cambridge: Cambridge UP, 1990) 170-185. More

Thomas Elsaesser, "Reinhold Schünzel und der Publikumsfilm," Jörg Schöning, Hans Michael Bock, eds., Reinhold Schünzel (Munich: edition text + kritik, 1989) 36-49. More

Thomas Elsaesser, "National/International Television: the 'Death' of the Cinema?" Brian Wallis, Cynthia Schneider (eds), Global Television (Cambridge, MA: MIT Press, 1989) 119-136.

Thomas Elsaesser, "Social Mobility and the Fantastic," James Donald, ed., Fantasy and the Cinema (London: BFI, 1989) 23-38.

Thomas Elsaesser, "Fassbinder," John Wakeman, ed., World Film Directors (New York: H.W. Wilson, 1988). 318-330.

Thomas Elsaesser, "The Heimatfilm," A. Wagner, Thomas Elsaesser (eds), Deutscher Heimatfilm (London: Goethe Institute, 1988) 1-14.

Thomas Elsaesser, "Tales of Sound and Fury"; "Vincente Minnelli," C. Gledhill, ed., Home Is Where the Heart Is, (London: BFI, 1987) 43-69; 217-222.

Thomas Elsaesser, "Dada/Cinema?" R. Kuenzli, ed., Dada and Surrealist Film (New York: Willis Locker & Owens, 1987) 13-27. (2nd edition, MIT Books 1996) More

Thomas Elsaesser, "Tales of Sound and Fury," B. Grant, ed., Film Genre Reader (Austin: Univ­ersity of Texas Press, 1986) 278-308.

Thomas Elsaesser, "An Anthropologist's Eye," T. Corrigan, ed., Werner Herzog, London, Methuen 1986, 133-155.

Thomas Elsaesser, "Primary Identification and the Historical Subject," P. Rosen, ed., Narrative, Apparatus, Ideology (New York: Columbia UP, 1986) 535-549.

Thomas Elsaesser, "Pandora's Box," R. Rentschler, ed., German Film and Literature (London: Methuen, 1986) 40-59. (also translated into Japanese, 1987)

Thomas Elsaesser, "American Graffiti: Neuer Deutscher Film zwischen Avantgarde und Postmoderne," A.Huyssen/­K.Scherpe, eds., Postmoderne-Zeichen eines kulturellen Wandels (Reinbek: Rowohlt 1986) 302-328. More, Text

Thomas Elsaesser, "From Author's Film to Little Hollywood," Giovanni Spagnoletti, ed., Il Nouvo Cinema Tedesco negli anni Sessanta, (Milan: Ubulibri, 1985) 13-26.

Thomas Elsaesser, "Tales of Sound and Fury," Bill Nichols, ed., Movies and Methods, vol.II (Berkeley and Los Angeles: California UP, 1985) 166-189.

Thomas Elsaesser, "Imaginary America: Wim Wenders and Peter Handke," S. Hayward, ed., European Cinema (Birmingham, Aston University, 1985) 31-52. Text, Link

Thomas Elsaesser, "Fassbinder's Germany," J. Rheuban, ed., The Marriage of Maria Braun (New Brunswick: Rutgers UP, 1985).

Thomas Elsaesser, "Economic and Textual Models for the Analysis of TV Serials," in Francesco Casetti (ed.), L'Immaginazione All'Plurale (Venice: Marsilio, 1984) 145-162.

Thomas Elsaesser, "William Dieterle and Warner Brothers," Vito Zagarrio, ed., Hollywood in Progress (Venice: Marsilio, 1984) 107-126.

Thomas Elsaesser, "Film History and Visual Pleasure," P. Mellencamp & P. Rosen, eds, Cinema Histories/ Cinema Practices (Frederick: University Publications of America, 1984) 47-85.

Thomas Elsaesser (with D Aers, J Cook, D Punter, R Clark), "Discursive Strategies," E. Barker, ed., '1789' (Colchester: Essex UP, 1982).

Thomas Elsaesser, "Narrative Cinema and Audience Aesthetics," Tony Bennett et al eds., Popular Television and Film (London: BFI/Open University, 1981) 270-282. (translated into Danish and reprinted in Spotlight, Copenhagen 1978)

Thomas Elsaesser, "Vincente Minnelli," Charles F.Altman, ed., Genre: The Musical (London: Routledge & Kegan Paul, 1981) 8-27.

Thomas Elsaesser, "Il 'Dandy' di Hitchcock," Eduardo Bruno, ed, Per Alfredo Hitchcock, (Montepulciano, 1981) 93-105.

Thomas Elsaesser, "Shock Corridor," Bill Nichols ed, Movies and Methods (Berkeley and Los Angeles: California UP, 1976) 290-296.

Thomas Elsaesser, "Murder, Merger, Suicide -The Politics of Despair," Tony Rayns, ed. Fassbinder, revised/augmented edition (London: BFI, 1979) 37-53.

Thomas Elsaesser, "Tales of Hoffmann," Ian Christie (ed.) Powell, Pressburger and Others (London: BFI, 1979) 62-65. Link

Thomas Elsaesser, "The Postwar German Cinema" and "Cinema of Vicious Circles" Tony Rayns, (ed.) Fassbinder (London, BFI, 1976) 1-16; 24-36.

Thomas Elsaesser, "Screen Violence: A Clockwork Orange," C.W.E. Bigsby, ed. Approaches to Popular Culture (London, Edward Arnold, 1976) 171-200. (Translated into Spanish, 1982)

Thomas Elsaesser, "Hollywood and the Cinephiles," C.W.E Bigsby, ed., Superculture (London: Elek, 1975) 199-216.

Thomas Elsaesser, "Douglas Sirk and German Theatre," L. Mulvey and J. Halliday, eds., Douglas Sirk, (Edinburgh: The Edinburgh Festival, 1970) 1-12.

Thomas Elsaesser, "Sam Fuller's Shock Corridor," D. Will and P. Wollen, eds., Sam Fuller, (Edinburgh: The Edinburgh Festival, 1969) 79-85.