Articles in Journals

Thomas Elsaesser, "The New Film History as Media Archaeology," Cinemas: Volume 14, numéros 2-3 (Printemps 2005) 75-117.

Thomas Elsaesser, "Harun Farocki", Afterall 11 (2005) 54-63 More

Thomas Elsaesser, "Melodrama Revisited", Andere Sinema Mediatijdschrift (zomer 2005)

Thomas Elsaesser, "An Image from a Film: Johan van der Keuken," Rouge no 5 (2004). Text

Thomas Elsaesser, "Too Big and Too Close: Alfred Hitchcock and Fritz Lang," Hitchcock Annual No. 12 (2004) 1-41.

Thomas Elsaesser, "Paul Wegener," in Cinema & Cie no 5 (Fall, 2004) 133-37. Text

Thomas Elsaesser, "Introduccion Harun Farocki," Otre parte no 2 (Buenos Aires) 48-52.

Thomas Elsaesser, "Back to the Beginnings: A Look Ahead," Film Language (Seoul, Korea) 2.0, 118-135.

Thomas Elsaesser, "The Marathon Man," Mieke Bal and Jan van Luxemburg (eds.) 'Cultural History: Straddling Borders: John Neubauer zum 70.Geburtstag,' Arcadia vol 38, no 2 2003, 407-413.

Thomas Elsaesser, ‘Komplexität und Textur in der Film-geschichte: Homage an Noel Burch’, in KINtop, nr 12 (2003) 49-64.

Thomas Elsaesser, Review Essay on Leonie Naughton, "That Was The Wild East: Film Culture, Unification and the 'New' Germany," in Cinema & Cie, no 3, 22-24. Also in Screening the Past. Text

Thomas Elsaesser, "'Where Were You, When…,' or 'I Phone, Therefore I am',"  Publication of the Modern Language Association (January 2003) 120-122. Text, here

Thomas Elsaesser, "Geschichte, Gedächtnis und Medienöffent-lichkeit," montage a/v (Berlin), vol 11, no 1, 2002, 11-25

Thomas Elsaesser, "Kino cyfrowe," Kwartalnik filmowy (Warsaw, Poland), Nr 35-36 (2001/2002) 55-74.

Thomas Elsaesser, "Vabive svuky," Illuminace (Prague, Czech Republic), 2/2000, 85-100.

Thomas Elsaesser [with M. Wedel], "Defining DEFA's Historical Imaginary: The Films of Konrad Wolf," New German Critique, 82 Winter 2001, 3-24.

Thomas Elsaesser, "Trauma: Postmodernism as Mourning Work," Screen 42/2 Summer 2001, 193-201. Text

Thomas Elsaesser, "Six Degrees of Nosferau," Sight and Sound, February 2001, 12-15. Text

Thomas Elsaesser, "Fritz Lang und Lily Latté - die Geschichte zweier Umwege," Filmblatt (Berlin) vol 6, no 15 (Winter/Frühling 2001), 40-53. Text

Thomas Elsaesser, "Loulou et le releveur des compteurs. Louise Brooks, Pabst et La Boîte de Pandore", Champ de l'Audioviduel no. 15, janvier 2001, 101-123.

Thomas Elsaesser, "Fritz Lang: The Illusion of Mastery," Sight and Sound, January 2000, 18-24.

Thomas Elsaesser, "Een halve eeuw Duitse cinema," spiegel historiael (Nov/Dec 1999) 513-518.

Thomas Elsaesser, "Mélancholie et mimétisme: Alexander Kluge," Trafic 31 (Automne 1999) 70-94.

Thomas Elsaesser, "Sur Fritz Lang," Trafic 26 (Eté 1998) 103-111.

Thomas Elsaesser, "Rapresentare l'irrapresentabile: i filmi dell'Olocausto," Drammaturgia no 4, (1997) 113-138.

Thomas Elsaesser (with Christa Blümlinger), "Neue Perspektiven der Filmgeschichte," Österreichischen Zeitschrift für Geschichtswissenschaften, 8/1997/4, 567-586. More

Thomas Elsaesser, "Berlin-Hollywood-Berlin, or Why are Nazi Films Popular?" Sight and Sound (November 1997) 24-27.

Thomas Elsaesser, "Het bedrieglijke beeld," Skrien 216 (September 1997) 41-45.

Thomas Elsaesser, "Traps for the Mind and Eye: Fritz Lang," Sight and Sound (August 1997) 28-30.

Thomas Elsaesser, "El concepto de cine nacional," Collectivo Eutopias (Univ. de Valencia, Spain, 1997) vol 166, 1-24.

Thomas Elsaesser, "What Does Zizek Want?" The Spectator (USA) no 7 (October 1996) 8-23.

Thomas Elsaesser, "A German Ancestry to Film Noir?" Iris (Paris) no 21 (Spring 1996) 129-144.

Thomas Elsaesser, "Modernismo y modernizacion en el cinema aleman," Archivos de la Filmoteca (Valencia, Spain), no 22, (February 1996) 20-39.

Thomas Elsaesser, "Writing and Rewriting Film History - Back to the Future with Early Cinema?" Norsk medietidsskrift 2/95, 35-48. Text

Thomas Elsaesser, "Under Western Eyes: Slavoj Zizek," de Gids (Amsterdam), April 1995, 263-272.

Thomas Elsaesser, "Everything You've Always Wanted to Know about Slavoj Zizek," International Journal of Psychoanalysis (April 1995) 143-149.

Thomas Elsaesser, "Historicising the Subject: A Body of Work," ‘Special Fassbinder Issue,’ New German Critique no 66, Autumn 1994, 11-34.

Thomas Elsaesser, "Moderne und Modernisierung im deutschen Film der dreißiger Jahre," montage a/v 3:2 (1994) 23-40.

English text

Thomas Elsaesser, "What Might We Mean by Media History?" Geschiedenis, Beeld en Geluid, no 28 (Spring 1994) 19-25.

Thomas Elsaesser, "Ingmar Bergman: The Art Cinema," Sight and Sound (April 1994) 22-27.

Thomas Elsaesser, "Portrait of the Artist as a Young Woman: Leni Riefenstahl," Sight and Sound (March 1993) 17-20.

Thomas Elsaesser, "Le portrait peint au cinéma: Mirror, Muse, Medusa," Iris no 14-15, 1992, 147-160.

Thomas Elsaesser, "Film Studies in Search of the Object," Film Criticism, XVII, 2-3 (Winter/Spring 1993) 40-47. Text

Thomas Elsaesser, "Nationale Cinema: de competitie met Hollywood," Skrien no 186 (Oct-Nov 1992) 50-53.

Thomas Elsaesser, "Filming Fascism: Is History Just an Old Movie?" Sight and Sound (Sept 1992) 18-21 and 49-50.

Thomas Elsaesser, "De eeuwig zingende zaag: Marlene Dietrich," Skrien no 185 (Aug-Sep 1992) 66-68.

Thomas Elsaesser, "De tafelmanieren van een stamgast," de Volkskrant, 15 mei, 1992, 16-17.

Thomas Elsaesser, "Jacques Rivette and the End of Cinema," Sight and Sound (April 1992) 20-23.

Thomas Elsaesser, "TV through the Looking-Glass," Quarterly Review of Film and Video, 20-21, 1992, 5-27.

Thomas Elsaesser, "Early German Cinema: Audiences, Style and Paradigms," Screen vol 31/2, 1992, 205-14.

Thomas Elsaesser, "Etat de la recherche et place du cinema," Hors Cadre No 10 (1992) 77-88.

Thomas Elsaesser, "Emile Cohl and The Origins of Cinema," Word and Image 8/3 (July/Sep 1992) 284-287.

Thomas Elsaesser, "Fassbinder's Berlin Alexanderplatz: Franz Bieberkopf'/S/Exchanges," Wide Angle 12/1, 1990, 30-43.

Thomas Elsaesser, "Film Studies Now," Word and Image, March 1989. Text

Thomas Elsaesser, "Secret Affinities: F.W. Murnau," Sight and Sound, Winter 1988/89, 33-39.

Thomas Elsaesser, "Games of Love and Death: Greenaway and Others," Monthly Film Bulletin, October 1988, 290-293.

Thomas Elsaesser, "Desire Denied, Deferred or Squared?" Screen 29 no 3, July/August 1988, 106-117.

Thomas Elsaesser, "Werner Herzog: Tarzan or Parsifal," Monthly Film Bulletin, May 88, 132-134.

Thomas Elsaesser, "A Retrospect on the New German Cinema," German Life and Letters, 41/3, April 1988, 271-292.

Thomas Elsaesser, "German Women Filmmakers in the 80s," Monthly Film Bulletin, December 1987.

Thomas Elsaesser, "Cinema: The Irresponsible Signifier: Siegfried Kracauer's Film (of) History," New German Critique, no 40, Winter 1987, 65-89.

Thomas Elsaesser, "Chronicle of a Death Retold: European Art Cinema," Monthly Film Bulletin, June 1987.

Thomas Elsaesser, "The 'New' Film History," Sight and Sound, vol 55/4, Autumn 1986, 246-251.

Thomas Elsaesser, "Film History as Social History: Warner Bros and the Biopic," Wide Angle, vol 8 no 2, 1986, 15-31.

Thomas Elsaesser, "It Started with these Images: Harun Farocki Helke Sander and the German Avantgarde," Discourse no 7, Fall 1986.

Thomas Elsaesser, "Caligari to Hitler?" Royal Academy Magazine, no 8, Autumn 1985, 7-8.

Thomas Elsaesser, "Joseph Losey: Time Lost and Time Found," Monthly Film Bulletin, June 1985.

Thomas Elsaesser, "Between Bitburg and Bergen Belsen," On Film, Spring 1985.

Thomas Elsaesser, "Heimat," American Film, May 1985.

Thomas Elsaesser, "Memory, Home and Hollywood," Monthly Film Bulletin, February 1985.

Thomas Elsaesser, "Fritz Lang's Metropolis: Innocence Restored," Monthly Film Bulletin, December 1984, 363-366.

Thomas Elsaesser, "Pathos and Leavetaking: German Emigre Directors in Paris," Sight and Sound, vol 53 no 1, Winter 1983/4, 278-283.

Thomas Elsaesser, "Robert Altman's Nashville: Putting on the Show," Persistence of Vision no 1, Summer 1984, 35-43.

Thomas Elsaesser, "Images of Britain," Monthly Film Bulletin, September 1984, 267-269.

Thomas Elsaesser, "The Specularity of Power: 1984," Goethe News, Goethe Institute London, January/February 1984, 1-7.

Thomas Elsaesser, "Herbert Achternbusch," Discourse (Berkeley) no 6, Fall 1983, 92-112.

Thomas Elsaesser, "Mother Courage and Her Daughters: Margarethe v Trotta," Monthly Film Bulletin, July 1983.

Thomas Elsaesser, "Edgardo Cozarinsky on the High Seas," Sight and Sound, Winter 1983/84, 37-39.

Thomas Elsaesser, "Les Cinéastes Allemands en France: Les Années Trente," Goethe Institute, Paris 1983.

Thomas Elsaesser, "Working on the Margins: Harun Farocki," Monthly Film Bulletin, October 1983, 267-270.

Thomas Elsaesser, "Lulu and the Meter Man," Screen, vol 24 no 4-5, June-July 1983, 4-36. Also available in French

Thomas Elsaesser, "Independent Cinema: A Metabolic View," Framework no 21, 1983. Text

Thomas Elsaesser, "Fascism, Fassbinder and the Film Industry," October no 21, 1982, 115-140.

Thomas Elsaesser, "Social Mobility and the Fantastic," Wide Angle, vol 5 no 2, 1982, 14-25.

Thomas Elsaesser, "Myth as Phantasmagoria of History," New German Critique, no 24-25 Winter/ Spring 1982, 108-154.

Thomas Elsaesser, "Primary Identification and the Historical Subject," Cinetracts 11, Fall 1980, 43-52.

Thomas Elsaesser, "Corrections Please: Noel Burch on Early Cinema", Framework 15-17 (1981).

Thomas Elsaesser (with Winfried Fluck), "Zur Problematik der Interpretation populärer Kultur, Amerika­studien, Spring 1978.

Thomas Elsaesser, "Jeune Cinema Anglais: Barney Platts-Mills," Positif 185, September 1976, 2-8.

Thomas Elsaesser, "The Pathos of Failure: The Unmotivated Hero," Monogram 6, 1975, 13-19.

Thomas Elsaesser, "Film and the Novel," Twentieth Century Studies, no 9,1973, 58-62.

Thomas Elsaesser, "The Cinema of Irony," Monogram 5, 1973, 1-2. Text

Thomas Elsaesser, "Tales of Sound and Fury: The Family Melodrama," Monogram 4, 1972, 2-15. (Translated into German, Dutch, Chinese and Italian)

Thomas Elsaesser, "Douglas Sirk Documents," Screen, Summer 1972, 20-28. (Reprinted in L. Mulvey and J. Halliday, eds., Douglas Sirk)

Thomas Elsaesser, "Between Style and Ideology: British Cinema," Monogram 3, 1972, 2-10.

Thomas Elsaesser, "French Film Culture and Critical Theory," Monogram 2, 1971, 31-37.

Thomas Elsaesser, "Reflection and Reality: European Art Cinema," Monogram 2, 1971, 2-9.

Thomas Elsaesser, "Why Hollywood?" Monogram 1, 1971, 4-10.

Thomas Elsaesser, "François Truffaut," Brighton Film Review 21, June 1970, 17-19.

Thomas Elsaesser, "Nicholas Ray," Brighton Film Review 19 & 20, April, May 1970, 13-16; 15-16.

Thomas Elsaesser, "Luchino Visconti," Brighton Film Review 17, February 1970, 21-23. (Reprinted in Sheila Whittaker, [ed.], Visconti, Tyneside Cinema, 1982, 32-35.)

Thomas Elsaesser, "Vincente Minnelli," Brighton Film Review 15 & 18, December 1969 and February 1970. (Reprinted in R. Altman, Genre and C. Gledhill, Home Is Where the Heart Is, 217-222.)

Thomas Elsaesser, "The American Musical," Brighton Film Review 18, February 1970.

Thomas Elsaesser, "Pasolini and Bertolucci" Brighton Film Review 14, Nov 1969. (Reprinted in P. Willemen, ed., Pasolini, London, BFI 1976, 37-40.)

Thomas Elsaesser, "Jean Renoir," Brighton Film Review 9, June 1969, 19-24.

Thomas Elsaesser, "King Vidor," Brighton Film Review 7, 1969, 22-27.

Thomas Elsaesser, "Luis Bunuel," Sussex Outlook, no 7, February 1966.

Thomas Elsaesser, "Jean Luc Godard," Sussex Outlook, no 4, November 1965.

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