Publications

Artists' Cinema - Authorship - Cinema, Architecture, Urbanism - Cinephilia and the Cinematic Experience - Contemporary Hollywood - Classical Hollywood - Cultural Studies - Digital MediaDocumentary Cinema, Non-Fiction FilmEarly Cinema - Early German Cinema - European (Art) CinemaExile and Emigre Cinema - Film Theory - Film History - German Cinema and Film History - Holocaust and Cinema - Alfred Hitchcock - Fritz Lang - Media Archaeology - MelodramaMemory, Media, History - Mind-Game Films - Modernity and Visual Culture - New German Cinema - Terror Trauma Paranoia Parapraxis - Television and New MediaTransnational and World Cinema - Weimar Cinema and Expressionist Film - Interviews

 

Artists' Cinema

Thomas Elsaesser, ‘Stop/Motion’, in Eivind Rossack (ed.), Between Stillness and Movement: Film Photography Algorithms (Amsterdam: Amsterdam University Press, 2011), 109-122

Thomas Elsaesser, “Fiona Tan: Place after Place”, in S. Bos (ed.), Dis-Orient (Venice: Biennale di Venezia, 2009), 20-33.

Thomas Elsaesser, “Ingmar Bergman in the museum? Thresholds, limits, conditions of possibility”, Journal of Aesthetics and Culture (on-line), Vol 1 (2009)

Thomas Elsaesser, “Arresting the Moving Image”, Norsk medietidsskrift vol 16 nr 1 (2009), 73-78.

Thomas Elsaesser, “Ingmar Bergman im Museum? Grenzbereiche, Schwellen, Möglichkeitsbedingungen”, in Helen Hirsch (ed.), In Silent Conversation with Ingmar Bergman (Basel: Christoph Merian Verlag, 2008), 92-101.

Thomas Elsaesser, “Ingmar Bergman in the Museum? Thresholds, Limits, Conditions of Possibility”, SITE (Stockholm), nr. 24 (December 2008), 7-12.

Thomas Elsaesser, “Casting Around: Hitchcock’s Absence”, in Johan Grimonprez, Looking for Alfred: The Hitchcock Castings (Ostfieldern: Hatje Cantz, 2007), 139-161

Thomas Elsaesser, (in Korean) “Harun Farocki: Artist, Filmmaker, Media Theorist” in Harun Farocki (Seoul: Seoul Film Festival brochure, 2007), 6-25

Thomas Elsaesser, ‘Fury’, in M. Baute & V. Pantenburg (eds.), Minutentexte zu Night of the Hunter (Berlin: Brinkmann + Bose, 2006), 271-73

Thomas Elsaesser, “Zu gross und zu nah: Alfred Hitchcock und Fritz Lang”, in Thomas Koebner & Thomas Meder (eds.), Bildtheorie und Film (Munich: edition text + kritik, 2006), 454-475.

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.

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

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

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Authorship in Hollywood and Europe

"The Author of the Film: Cultural Mode of Production in New German Cinema", Thomas Elsaesser, The New German Cinema (New Brunswick: Rutgers University Press, 1989), 40-73

"The Author in the Film: Allegories of the Artist in New German Cinema", Thomas Elsaesser, The New German Cinema (New Brunswick: Rutgers University Press, 1989), 74-116

The Auteur Theory - A Retrospect: From Artist to Brand (1995)

James Cameron’s Avatar: access for all”, New Review of Film and Television Studies, Volume 9, Number 3 (September 2011), 247-264.

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Cinema,  Architecture, Urbanism

Thomas Elsaesser, “Aus der Geschichte der Zukunft: Die Stadt von Morgen”, in Helen Barr (ed.), Neues Wohnen 1929/2009 (Berlin: Jovis, 2011), 14-26

Thomas Elsaesser, “Sonnen-Insulaner – on a Berlin Island of Memory”, in U. Staiger, H. Steiner and A. Webber (eds.), Memory Culture and the Contemporary City (Basingstoke: Palgrave/MacMillan, 2009), 32-51

Thomas Elsaesser, “Berlin Isle de Memoire: Mediale Spuren einer Geschichte”, in S. Costagli, M. Galli (eds.), Deutsche Familienromane (Munich: Wilhelm Fink, 2010), 233-250.

Thomas Elsaesser, “City of Light, Gardens of Delight: Metropolis vs Kuhle Wampe”, in Andrew Webber, Emma Wilson (eds.), Cities in Transition (London: Wallflower Press, 2008), 88-101.

Thomas Elsaesser (with Michael Wedel), "Mimesis, Mimicry and the Metropolis: A Century of Berlin's Multi-National Film Cultures", in Godela Weiss-Sussex and Ulrike Zitzelsperger (eds), Berlin - Kultur und Metropole in den 20er und seit den neunziger Jahren (München: Iudicum Verlag, 2007), 138-154.

Thomas Elsaesser, “The Camera in the Kitchen: Grete Schütte-Lihotsky and Domestic Modernity” in Christiane Schönfeld (ed.), Practicing Modernity: Female Creativity in the Weimar Republic (Würzburg: Königshausen & Neumann, 2006), 27-49.

Thomas Elsaesser, "Die Stadt von Morgen: Bauen und Wohnen im nicht-fiktionalen Film der 20er Jahre“, in K. Kreimeier (ed.) Der Dokumentarfilm in Deutschland: 1919-1933 (Stuttgart/ Leipzig: Reclam, 2005), 381-409.

Thomas Elsaesser, "The Architectural Postcard as Media Intertext: Controlled Angles, Arab Villages and Architectural Promenades" (Moderne Grüsse), Cinema et Cie No 7 (October 2005), 177-182

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.

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Cinephilia and the Cinematic  Experience

Thomas Elsaesser, “La cinefilia ai tempi di Facebook”, alfabeta2 no. 21 (July-August 2012), 36 -38 [ed. Paolo Bertetto

Thomas Elsaesser, “Cinema and Academia: Of Objects of Love and Objects of Study”, in Jo Labanyi, Luisa Passerini, Karen Diehl (eds.), Europe and Love in Cinema (London: Intellect Books, 2012), 27-42

Thomas Elsaesser, “Between Erlebnis and Erfahrung: Cinema Experience with Benjamin”, in ‘Passage-work: Walter Benjamin between the Disciplines’, Paragraph vol. 32 n. 3, November 2009, 292-312

Thomas Elsaesser, “Stepping Sideways”, Cinema Journal vol. 49, no. 1, 2009, 121-127

Thomas Elsaesser, “Cinephilia – Film Studies – Cultural Studies”, Frame –Tijdschrift voor Literatuurwetenschap (Literatuur en Film), vol 20, nr. 2 2007 [2006-2008]

Thomas Elsaesser, “Von der Filmwissenschaft zu den Cultural Studies und zurück: Der Fall Großbritannien”, in Zeitschrift für Kulturwissenschaften, 2 (2007), 85-106

Thomas Elsaesser, "Cinephilia, or The Uses of Disenchantment" In Marijke De Valck, and Malte Hagener (eds.), Cinephilia: Movies, Love And Memory (Amsterdam: Amsterdam University Press, 2005), 27–44.

Thomas Elsaesser, ‘Zu spät zu früh- Körper, Zeit und Aktionsraum in der Kino-Erfahrung’ in M. Tröhler, V. Hediger (eds.), Kinogefühle (Marburg: Schüren, 2005), 415-440.

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

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

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Contemporary Hollywood Cinema

Thomas Elsaesser, "Der Soldat Private Ryan: Rettung, Retrospektion und Überlebensschuld im affektives Gedächtnis" in Hermann Kappelhoff, David Gaertner, -Cilli Pogodda (eds.), Mobilisierung der Sinne: Der Hollywood-Kriegsfilm zwischen Genrekino und Historie (Berlin: Vorwerk8, 2013), 61-87

Thomas Elsaesser and Boaz Hagin, Memory,Trauma and Fantasy in American Cinema [in Hebrew] (Ra’anana: Open University of Israel, 2012) 381 pp

Thomas Elsaesser, “Nashville: Putting on The Show” in Cynthia Lucia, Roy Grundmann, and Art Simon (eds), The Wiley-Blackwell History of American Film vol. III: 1945-1975 (Oxford: Blackwell, 2012),

Thomas Elsaesser, “James Cameron’s Avatar: access for all”, New Review of Film and Television Studies, Volume 9, Number 3 (September 2011), 247-264

Thomas Elsaesser, Hollywood Heute (Berlin: Bertz & Fischer, 2009), 157 ill., 272 pp

Thomas Elsaesser, “Tales of Epiphany and Entropy: Paranarrative Worlds on YouTube”, in Warren Buckland (ed.), Film Theory & Contemporary Hollywood Movies (Routledge, 2009), 150-172

Thomas Elsaesser, Gewalt im Kino: das Regime der Brüder, in Anne von der Heiden (ed.), Ideologische Mechanismen der Gewalt (Weimar: Verlag Geisteswissenschaften, 2006), 135-164

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

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.

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.

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

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.

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.

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.

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.

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

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Classical Hollywood Cinema

Thomas Elsaesser, The Persistence of Hollywood (New York: Routledge, 2012) 396 pp

Thomas Elsaesser, “Muse und Medusa: das gemalte Portait in Jacques Tourneurs Experiment Perilous”, in Henry Keazor, Fabienne Liptay, Susanne Marschall (eds.) FilmKunst (Marburg: Schüren, 2011), 223-236

Thomas Elsaesser, “Vincente Minnelli”, in J.McElhaney (ed.), Vincente Minnelli – The Art of Entertainment (Detroit: Wayne State University, 2009), 79-96.

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

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

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

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

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

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Cultural Studies

Thomas Elsaesser, "Multiculturalism: Europe's Hope or Liberalism's Hype?", in Voortschrijdend Inzicht (Amsterdam: Amsterdam University Press, 2013), 88-91

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Digital Media

Thomas Elsaesser, "The 'Return' of 3-D: On Some of the Logics and Genealogies of the Image in the Twenty-First Century", Critical Inquiry vol. 39, issue 2 (Winter 2013), 217-246

Thomas Elsaesser, “Die »Rückkehr« der 3D Bilder”, in Gundolf S Freyermuth & Lisa Gotto (eds.), Bildwerte: Visualität in der digitalen Medienkultur (Bielefeld: Transkript, 2012), 25-68.

Thomas Elsaesser, Il ritorno del 3D, imago vol 2, no 3 (2011), 73-84. [ed Vito Zagarrio]

Thomas Elsaesser, “Filmvermittlung zwischen Rückbezüglichkeit, Reflexivität und Remediation: D3D und Avatar”, in Gudrun Sommer, Vinzenz Hediger, Oliver Fahle (eds.), Orte filmischen Wissens (Marburg: Schüren, 2011), 239-254.

Thomas Elsaesser, “Tiefe des Raums und Angriff der Dinge", epd-film (January 2010), 5-9.

Thomas Elsaesser, “Tales of Epiphany and Entropy: Around the World in Eighty Clicks”, in P. Snickars, P. Vonderau (eds.), The YouTube Reader (Stockholm: National Library of Sweden, 2009), 166-186.

Thomas Elsaesser, “Zurück in die Zukunft”, Film Dienst, vol 62 no 15 (Juli 2009), 6-9 (interview)

Thomas Elsaesser, “Digital Cinema and the Apparatus: Archaeologies, Epistemolo­gies, Ontologies” in Bruce Bennett, Marc Furstenau, and Adrian MacKenzie (eds.), Cinema and Technology: Cultures, Theories, Practices (Houndmills: Palgrave/ MacMillan, 2008), 226-240.

Thomas Elsaesser, “Das Digitale und das Kino Um-Schreibung der Filmgeschichte?” in: Daniela Kloock (ed.), Zukunft Kino: The End of the Reel World (Marburg: Schüren, 2008), 42-59.

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

Thomas Elsaesser, "Digitaalinen elokuva", Lähikuva [Helsinki] 2/2000, 16-33

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, "Digital Cinema - Delivery Event, Time," in Thomas Elsaesser and Kay Hoffmann (eds.), Cinema Futures: Cain, Abel or Cable? - The Screen Arts in the Digital Age  (Amsterdam: Amsterdam UP, 1998), 201-222.

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.

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Documentary Cinema, Non-Fiction Film

Thomas Elsaesser, “Mellom, abstraksjon og stofflighet: lyd, kropp, stemme”, Z –Filmtidsskrift 114 (Nr. 1, 2011) [Oslo], 56-72

Thomas Elsaesser, “Archives and Archaeologies: The Place of Non-Fiction Films in Contemporary Media”, in V.Hediger, P. Vonderau (eds.), Films that Work (Amsterdam: Amsterdam University Press, 2009), 19-34.

Thomas Elsaesser, “Archive und Archäologien: Der Ort des nicht-fiktionalen Films in den Medien heute”, in Vinzenz Hediger, Patrick Vonderau (eds.), Filmische Mittel, industrielle Zwecke (Berlin: Vorwerk 8, 2007), 34-53.

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.

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.

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Early Cinema

Thomas Elsaesser, “Is Nothing New: Turn-of-the-Century Epistemes in Film History” in Nicolas Dulac, André Gaudreault, and Santiago Hidalgo (eds.), A Companion to Early Cinema (Oxford: Blackwell, 2012), 587-609

Thomas Elsaesser, “Reexaminando el cine de atracciones: cambios epistémicos, realineamientos diegéticos y el retorno de Rube en los medios digitales” [Tr. Cynthia Tompkins], Imagofagia 3 (April 2011)

Thomas Elsaesser, “Discipline through Diegesis: The Rube film between attraction and integration”, in Wanda Strauven (ed.), The Cinema of Attractions Reloaded (Amsterdam: Amsterdam University Press, 2006), 205-223.

Thomas Elsaesser, entries on “Early German Cinema: Production, Studios, Personnel”,in Richard Abel (ed.), Encyclopedia of Early Cinema (New York: Routledge, 2005).

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

Thomas Elsaesser, "Writing and Rewriting Film History: Terms of a Debate", Cinema & Cie nr 1 (2001), 24-33.

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

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

Thomas Elsaesser, "Louis Lumière: the Cinema's First Virtualist?"; in Thomas Elsaesser and Kay Hoffmann (eds.), Cinema Futures: Cain, Abel or Cable? - The Screen Arts in the Digital Age  (Amsterdam: Amsterdam UP, 1998), 45-62

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

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Early German Cinema

Thomas Elsaesser, “Time, Space, Causality: Joe May, Fritz Lang and the German Detective Film”, Modernist Cultures Vol 5, No 1 (May 2010), 79-105.

Thomas Elsaesser, “La notion de genre et le film comme produit semi-fini: a propos de Franz Hofer”, 1895: Revue de recherché sur l’histoire du cinema no. 50 (Decembre 2006), 67-85.

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.

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.

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

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.

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

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

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European (Art) Cinema

Thomas Elsaesser, "ImpersoNations", Le cinema et les languages, Mise-au-Point 5 (2013) [in French and English]

Thomas Elsaesser, "European Cinema and the Post-heroic Narrative: Claire Denis and Beau Travail", New Literary History, 43, 4 (Autumn 2012), 703-725

Thomas Elsaesser, "Theatricality and Spectacle in La Règle du Jeu, The Golden Coach, Elena et les Hommes", in G.Vincendeau & A. Philipps (eds.), The Wiley-Blackwell Companion to Jean Renoir (Oxford: Wiley-Blackwell, 2013), 237-255

Thomas Elsaesser, “Postheroische Erzählungen: Jean Luc Nancy, Claire Denis und Beau Travail”, in Hermann Kappelhoff, Anja Streiter (eds.), Die Frage der Gemein­schaft: Das westeuropäische Kino nach 1945 (Berlin: Vorwerk 8, 2012), 67-94

Thomas Elsaesser, “Auto-contradictions performatives: les jeux mentaux de Michael Haneke”, in V. Carré (ed.), Fragments du Monde – Retour sur l’oeuvre de Michael Haneke (Paris: Editions Le Bord de l’eau, 2012), 15-38

Thomas Elsaesser, “Caché (Hidden)”, Sight & Sound, vol. 22, nr. 12 (December 2012), 123

Thomas Elsaesser, “Vom Tod als Experiment im Leben: Fatih Akin und die ‘Ethische Wende’”, in Thomas Schick, Tobias Ebbrecht (eds.), Kino in Bewegung (Wiesbaden: VS Verlag, 2011), 41-62

Thomas Elsaesser, “Politics, Multiculturalism and the Ethical Turn: The Cinema of Fatih Akin”, in Boaz Hagen, Sandra Meiri, Raz Yosef, Anat Zanger (eds.), Just Images: Ethics and the Cinematic (Newcastle: Cambridge Scholars, 2011), 1-19

Thomas Elsaesser, “Hitting Bottom: Aki Kaurismäki and the Abject Subject”, Journal of Scandinavian Cinema, vol 1, no 1 (2011), 105-122

Thomas Elsaesser, “Performative Self-Contradiction” in Roy Grundmann (ed.), Michael Haneke (Oxford: Blackwell, 2010), 53-74

Thomas Elsaesser, “Sperimentando con la morte, nella vita: Fatih Akin e la svolta etica”, in Paolo Bertetto and Andrea Minuz (eds.), Cinemafilsophia (Rome: Bulzoni, 2010), 109-124

Thomas Elsaesser, “Pohjalla: Aki Kaurismäki”, Lähikuva [Helsinki] 2/2010, 7-27

Thomas Elsaesser, “Real Location, Fantasy Space, Performative Place: Double Occupancy and Mutual Interference in European Cinema”, in Temenuga Trifonova (ed.), European Film Theory (New York: Routledge, 2008), 47-61.

Thomas Elsaesser, “Ingmar Bergman’s The Serpent’s Egg: Reflection on Reflections on Retro-Fashion”, in Maaret Koskinen (ed.), Ingmar Bergman Revisited (London: Wallflower Press, 2008), 161-179.

Thomas Elsaesser, "Double Occupancy: Space, Place and Identity in European cinema”, Third Text 83, vol. 20, issue 6 (November 2006), 647-658.

Thomas Elsaesser, ‘European Cinema: Legacy of East and West, Ethnicity and History’, in Monitor (ISH, Ljubljana, Slovenia) vol VIII/2, 2006, 145-169

Thomas Elsaesser, European Cinema: Face to Face with Hollywood (Amsterdam: Amsterdam University Press, 2005) 568 pp

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),

Thomas Elsaesser, "Raoul Ruiz: The Hypothesis of a Stolen Painting", Rouge nr 2 (2004).

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.

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, "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.

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

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

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

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Exile and Emigre Cinema

Thomas Elsaesser, “Expresionismo e cinema aleman”, in Carlos Losilla (ed.), En Transito: Berlin – Paris - Hollywood (Madrid: T&B Editores, 2009), 33-40.

Thomas Elsaesser, “Los directores alemanes y Hollywood”, in Carlos Losilla (ed.), En Transito: Berlin – Paris - Hollywood (Madrid: T&B Editores, 2009), 41-64.

Thomas Elsaesser, “Los exiliados alemanes y el Paris de la decada de 1930”, in Carlos Losilla (ed.), En Transito: Berlin – Paris - Hollywood (Madrid: T&B Editores, 2009), 65-84.

Thomas Elsaesser, “Etnicita, autenticita a exil: falesny obchod?" in: J. Voráč (ed.), Iluminace. Časopis pro teorii, historii a estetiku filmu, Praha: Národní filmový archiv, vol 20, nr 2 (70), 2008, 35-58.

Thomas Elsaesser, “L’auteur, l’exile et la poetique de la dispersion: Roman Polanski et Chinatown” in Irene Bessiere (ed.), Hollywood: les fictions de l’exile (Paris: Nouveau monde editions, 2007), 143-162.

Thomas Elsaesser, “Invisible dans l’ubiquité: a la recherche de Walter Reisch”, in Irene Bessiere (ed.), Hollywood: les fictions de l’exile (Paris: Nouveau monde editions, 2007), 217-240.

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

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

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

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

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.

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.

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

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.

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, "La misen-en-scene des objets," H. Hurst, H. Gassen (eds.), Tendres Ennemis (Paris: L'Harmattan, 1991), 185-194.

Thomas Elsaesser, "Die Inszenierung der Objekte," H. Hurst, H. Gassen (eds.), Kameradschaft/Querelle (Munich: CICIM, 1991) 173-184.

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Film History

Thomas Elsaesser, “Nowa Historia – Koncept Metodologiczny”, in Kwartalnik Filmowy (Warsaw), Nr 67-69 (Jesien-Zima 2009), 8-41

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

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

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

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Film Theory

Thomas Elsaesser and Malte Hagener, Film Theory: An Introduction through the Senses [in Korean] (Seoul: CommunicationBooks, 2012), 370 pp

Thomas Elsaesser, Malte Hagener, Le Cinéma et les Sens (Rennes: Presses Universitaires de Rennes, 2011) 228 pp

Thomas Elsaesser, “A Bazinian Half-Century”, in D. Andrew, H. Joubert-Laurencin (eds.), Opening Bazin – Postwar Film Theory and its Afterlife (New York: Oxford University Press, 2011), 3-12

Thomas Elsaesser (with Malte Hagener), Film Theory: An Introduction through the Senses (New York: Routledge, 2010), 232 pp

Thomas Elsaesser (con Malte Hagener), Teoria del film. Un'introduzione (Milano: Einaudi, 2009), 238 pp

Thomas Elsaesser, ‘“Konstruktive  Instabilität”, oder das Leben der Dinge als Nachleben des Kinos’ in Sabeth Buchmann, Helmut Draxler, Stephan Geene (eds.), Film Avantgarde Biopolitik (Vienna: Akademie der bildenden Künste/ Schleebrügge, 2009), 86-119.

Thomas Elsaesser, “Ein halbes Jahrhundert im Zeichen Bazins”, montage a/v 18/1 (2009), 11-32.

Thomas Elsaesser (with Malte Hagener), Filmtheorie: zur Einführung (Hamburg: Junius Verlag, 2007) 248 pp

Thomas Elsaesser, “Kontingenz und Handlungsmacht im zeitgenössischen Kino”, in Ilka Becker/Michael Cuntz/Astrid Kusser (Hg.): Unmenge - Wie verteilt sich Handlungsmacht? (Paderborn: Fink 2007), 159-192

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, "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.

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

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

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

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.

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)

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German Cinema and Film History

Thomas Elsaesser [with Michael Wedel] (ed.), The BFI Companion to German Cinema (London: BFI, 1999) (review)

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

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.

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.

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.

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

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

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Alfred Hitchcock

Thomas Elsaesser, “Casting Around: Hitchcock’s Absence”, in Johan Grimonprez (ed.), It’s a Poor Sort of Memory … (Ostfildern: Hatje Cantz, 2011), 151-172

Thomas Elsaesser, “Too Big and Too Close: Alfred Hitchcock and Fritz Lang”, in S. Gottlieb and R. Allen (eds.), The Hitchcock Annual Anthology (London: Wallflower Press, 2009), 146-170.

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

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

Thomas Elsaesser, “The Dandy in Hitchcock”, The MacGuffin no. 14 (1994), 14-21

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

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Holocaust and Cinema

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.

Thomas Elsaesser, “Holocaust Memory as the Epistemology of Forgetting? Re-wind and Postponement in Harun Farocki's Respite”, in Antje Ehman and Kodwo Eshun (eds), Against Whom Against What (London: Craven Walk, 2010), 57-68

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Fritz Lang

Thomas Elsaesser, “Time, Space, Causality: Joe May, Fritz Lang and the German Detective Film”, Modernist Cultures Vol 5, No 1 (May 2010), 79-105.

Thomas Elsaesser, “Too Big and Too Close: Alfred Hitchcock and Fritz Lang”, in S. Gottlieb and R. Allen (eds.), The Hitchcock Annual Anthology (London: Wallflower Press, 2009), 146-170.

Thomas Elsaesser, “City of Light, Gardens of Delight: Metropolis vs Kuhle Wampe”, in Andrew Webber, Emma Wilson (eds.), Cities in Transition (London: Wallflower Press, 2008), 88-101.

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Media Archaeology

Thomas Elsaesser, "Io telefono dunque sono/ iPhone Therefore I am", Agalma 26 (October 2013),

Thomas Elsaesser, "Film Studies, Media Archaeology, Digital Arts", in Daniel Irrgang und Clemens Jahn (eds.), Forum zur Genealogie des MedienDenkens Band 1 (Berlin: Verlag der Universität der Künste, 2013)

Thomas Elsaesser, "Gebannte Leistung: Cinema Motion Energie Entropie" in Claus Leggewie, Ursula Renner, Peter Risthaus (eds.), Prometheische Kultur: Wo kommen unsere Energen her? (München: Wilhelm Fink, 2013), 223-248.

Thomas Elsaesser, "Entre savoir et croire: le dispositif cinématographique après le cinéma", in F. Albera & M. Tortajada, Cine-Dispositifs (Lausanne: L'Age d’Homme, 2011), 39-74

Thomas Elsaesser, “Das Kodak-Carousel”, in David Link und Nils Röller (eds.), Objekte des Wissens, der Kunst und der Freundschaft: Eine kleine technische Enzyklopädie (Leipzig: Institut für Buchkunst, 2012), 68-71

Thomas Elsaesser, “Haptic Visions and Consumerism: A Moment from Fritz Lang’s Siegfried”, in Tom Brown, James Walters (eds), Film Moments (London: British Film Institute, 2011), 70-73

Thomas Elsaesser, “Le mensonge de l’image est la vérité de notre monde»: Les archéologies épistémologies et ontologies du cinema”, in Pierre Beylot, Isabelle Le Corff, Michel Marie (eds.), Les Images en question (Bordeaux: Presses Universitaires de Bordeaux, 2011), 17-34

Thomas Elsaesser, “Freud and the Technical Media: The Enduring Magic of the Wunderblock”, in Erkki Huhtamo and Jussi Parikka (eds.), Media Archaeology (Berkeley: University of California, 2011), 95-118

Thomas Elsaesser, “Archaeologies of Interactivity: Early Cinema, Narrative and Spectatorship”, in: Film 1900: Technology, Perception, Culture (A. Ligensa & K. Kreimeier eds.), New Barnet, Herts: John Libbey, 2009

Thomas Elsaesser, “Sauts temporels et dé-placements: Le souvenir du travail dans les machines de vision de Harun Farocki”, Intermedialités (Montreal) no 11 (2009), 35-51.

Thomas Elsaesser, “Freud as Media Theorist: mystic writing pads and the matter of memory”, Screen vol 50, no 1, Spring 2009, 100-113.

Thomas Elsaesser, “Constructive Instability: YouTube”, in: Geert Lovink, Sabine Niederer (eds.): Video Vortex Reader: Responses to Youtube (Amsterdam: Institute of Network Cultures, 2008), 13-31.

Thomas Elsaesser, “The Future of Art and Work in the Age of Vision Machines: Harun Farocki”, in R. Halle, R.Steingröver (eds), After the Avantgarde – Contemporary German and Austrian Experimental Film (Rochester: Camden House, 2008), 31-49.

Thomas Elsaesser, “Freud e i media technologici: la perdurante magia di Wunderblock”, in Lucilla Albano, Veronica Pravadelli (eds.), Cinema e Psicoanalisi (Macerata: Quodlibet, 2008), 81-108.

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

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

Thomas Elsaesser, (in Korean) "The History of Futures Past or: is the Cinema yet to be invented?”,  Future of Cinema (Seoul: Seoul Film Festival, 2003) 15-18.

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

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.

Thomas Elsaesser, "Four Visions: Commitment", in GBG Nieuws 1993, 10

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Melodrama

Thomas Elsaesser, “Gefühlte Opfer. Die mediale Inszenierung einer prominenten Rolle” in Jörg Metelmann, Timon Beyes (eds.), Die Macht der Gefühle: Emotionen in Management, Organisation und Kultur (Berlin: Berlin University Verlag, 2012), 109-126

Thomas Elsaesser, “Melodrama: Genre, Gefühl oder Weltanschauung?”, in Margrit Frölich et al. (eds), Das Gefühl der Gefühle - zum Kinomelodram (Marburg: Schüren, 2008), 11-34

Thomas Elsaesser, “A mode of Feeling or a View of the World? Family Melodrama and the Melodramatic Imagination Revisited” / “Modalità del sentire o visione del mondo? Una rivisitazione del melodramma familiare e dell’immaginazione melodrammatica”, in Elena Dagrada (ed.): Il Melodramma (Rome: Bulzoni, 2007), 23-68.

Thomas Elsaesser, “Opowiesci Wscieklosci I Wrzasku” [Tales of Sound & Fury], Studie Filmoznawcze, 29 (Wroclaw, 2008), 11-40

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

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

Thomas Elsaesser, "Tales of Sound & Fury" [in Japanese], Kenji Iwamoto (ed.), Theories of Film: A New Anthology (Tokyo: Film, Art Sha, 1998), 14-43

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

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

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, "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.

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

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Memory, Media, History

Thomas Elsaesser, “Migration und Motiv: die parapraktische Erinnerung an ein Bild” in Peter Geimer, Michael Hagner (eds.), Nachleben und Rekonstruktion: Vergangenheit im Bild (Munich: Wilhelm Fink, 2012), 159-176

Thomas Elsaesser, “History, Media, Memory – Three Discourses in Dispute”, in U. Ekman and F. Tygstrup (ed.) Witness: Memory, Representation and the Media in Question (Copenhagen: Tusculum, 2008), 393-413.

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Mind-Game Films

Thomas Elsaesser, "Los actos tienen consecuencias. Lógicas del mind-game film en la trilogía de Los Ángeles de David Lynch", L'Atalante. Revista de estudios cinematográficos No 15 (Enero-Junio 2013), 7-19

Thomas Elsaesser, “La Pelicula de Estratagema”, hueso humero, 57 (juli 2011), 99-135

Thomas Elsaesser, “The Mind-game Film”, in W. Buckland (ed.), Puzzle Films – Complex Storytelling in Contemporary Cinema (Oxford: Wiley-Blackwell, 2009), 13-41.

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.

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Modernity and Visual Culture

Thomas Elsaesser, “Modernity: the Troubled Trope” in D L Madsen & M Klarer (eds.), The Visual Culture of Modernism (Tübingen: Narr, 2011), 21-40

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New German Cinema

Thomas Elsaesser, "Maratończyk: Alexander Kluge –zawzięty strateg i erudyta niemieckiego kina", in Ekrany 5 (2013), 57-61

Thomas Elsaesser, "Our Hitler – A Film by HJ Syberberg" in Karolin Machtans and Martin A. Ruehl (eds.), Hitler - Films from Germany: History, Cinema and Politics since 1945 (Houndsmill: Palgrave MacMillan, 2012), 72-98.

Thomas Elsaesser, R.W. Fassbinder [new edition, revised and augmented] (Berlin: Bertz & Fischer, 2012) 524 pp

Thomas Elsaesser, The Stubborn Persistence of Alexander Kluge, in T. Forrest (ed.), Alexander Kluge: Raw Materials for the Imagination (Amsterdam: Amsterdam University Press, 2012), 22-29

Thomas Elsaesser, “Prodigal Son, Not Reconciled”, in Brigitte Peucker (ed.), The Blackwell Companion to R.W. Fassbinder (Oxford: Blackwell, 2012), 45-52.

Thomas Elsaesser, “Etwas wird sichtbar”, in Norbert Grob, Rick Rentschler (eds.), Stilgeschichte des Neuen Deutschen Films (Leipzig: Reclam, 2012), 312-322.

Thomas Elsaesser, “Diagonale Historiographien”, in Hermann Kappelhoff, Bernhard Groß, Daniel Illger (eds.), Demokratisierung der Wahrnehmung? Das Europäische Nachkriegskino (Berlin: Verlag Vorwerk 8, 2010), 95-114.

Thomas Elsaesser, “Rainer Werner Fassbinder: Hoe men Duitser wordt”, in Frits Boterman & Willem Melching (ed.), Het Wonder Bondsrepubliek (Nieuw Amsterdam Uitgevers, 2009), 151-164.

Thomas Elsaesser, “Vergebliche Rettung: Geschichte als Palimpsest”, in Michael Wedel/Elke Schieber (eds.), Konrad Wolf – Werk und Wirkung (Berlin: Vistas Verlag, 2009), 73-92.

Thomas Elsaesser, Michael Wedel, “Einblick von Aussen: Konrad Wolf, die DEFA und die internationale Filmgeschichte”, in Michael Wedel/Elke Schieber (eds.), Konrad Wolf – Werk und Wirkung (Berlin: Vistas Verlag, 2009), 29-56.

Thomas Elsaesser, “Marathon Man: The Stubborn Persistence of Alexander Kluge”, Film Comment, 44.3 (May-June 2008), 52-64

Thomas Elsaesser, “Ethical calculus: The cross-cultural dilemmas and moral burdens of fatih akin's 'the edge of heaven'”, Film Comment, May-June 2008, 34-37.

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

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.

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

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

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

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

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

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.

Thomas Elsaesser, "American Graffiti und Neuer Deutscher Film: Filmemacher zwischen Avantgarde und Postmoderne," Jürgen Felix (ed.), Die Postmoderne im Kino: Ein Reader (Marburg: Schüren Verlag, 2002) 38-64.

Thomas Elsaesser, "German Cinema in the 1990s", in T.Elsaesser & M. Wedel (eds.), The BFI Companion to German Cinema (London: BFI, 1999), 3-16

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.

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.

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

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

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.

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.

Thomas Elsaesser, "Istorija—vseogo liš' staryj fil'm?" [Is History an Old Movie?] in Iskusstvo Kino (Moscow), no. 10, October 1994

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

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

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

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

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.

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

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

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

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

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.

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

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, "Germany's Imaginary America: Wim Wenders and Peter Handke," S. Hayward, ed., European Cinema (Birmingham, Aston University, 1985) 31-52.

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

Thomas Elsaesser, "Cinema in the Service of Television? - The Case of the German Workers' Films" (1983)

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Terror, Trauma, Paranoia, Parapraxis

Thomas Elsaesser, "The Poetics and Politics of Parapraxis" (translated into Hewbrew) in Sandra Meiri, Yael Munk, Adia Mendelson-Maoz and Liat Steir-Livni (eds), Identities in Transition in Israeli Cinema (Ra'anana: Open University of Israel, 2013), 407-426

Thomas Elsaesser, “Frakcija crvene armije, Njemacka u jesen I Igra smrti”, in Srecko Horvat (ed.) Art & Politics: Mai 68, Up & Underground 13/4 (Zagreb 2008), 192-221

Thomas Elsaesser, Terror und Trauma. Die Gewalt der Vergangenheit in der BRD (Berlin: Kadmos, 2007) 218 pp

Thomas Elsaesser, ‘Antigone Agonistes; urbana gerila ili gerilski urbanizam?’, Prelom (Beograd) no. 6/7 (2006), 153-186

Thomas Elsaesser, ‘Geschichten und Gedächtnis: Zur Poetik der Fehlleistung im Mainstreamkino’, in Irmbert Schenk, Christine Rüffert et al (eds.), Experiment Mainstream? Differenz und Uniformierung im populären Kino (Berlin: Bertz + Fischer, 2006), 31-42

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

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. (review)

Thomas Elsaesser, "Postmodernism as Mourning Work: Trauma Theory", Screen 24/2 (2001), 193-201. (or here)

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.

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.

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.

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.

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, 1998) 1-18.

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

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Television and New Media

Thomas Elsaesser & Kay Hoffmann (eds.), Cinema Futures: Cain, Abel or Cable? - The Screen Arts in the Digital Age (Amsterdam: Amsterdam UP, 1998).

Thomas Elsaesser, "Convergence, Divergence, Difference"; 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

Thomas Elsaesser, "Fantasy Island - Dream Logic as Production Logic"; in Thomas Elsaesser and Kay Hoffmann (eds.), Cinema Futures: Cain, Abel or Cable? - The Screen Arts in the Digital Age (Amsterdam: Amsterdam UP, 1998), 143-158

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

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, "Studying TV Audiences Today: Voodoo, Shamans and Prospectors?" Jostein Gripsrud, Kathrine Skretting (eds), History of Moving Images (Oslo: Levende Bilder, 1994) 171-179. [1990s]

Thomas Elsaesser, "Television after Television", in Thomas Elsaesser, Jan Simons and Lucette Bronk (eds), Writing for the Medium: Television in Transition (Amsterdam: Amsterdam UP, 1994) 9-23.

Thomas Elsaesser, "Television: Questions of Quality", in Thomas Elsaesser, Jan Simons and Lucette Bronk (eds), Writing for the Medium: Television in Transition (Amsterdam: Amsterdam UP, 1994) 59-82.

Thomas Elsaesser, "Zapping One's Way into Quality: Arts Programmes on TV", in Thomas Elsaesser, Jan Simons and Lucette Bronk (eds), Writing for the Medium: Television in Transition (Amsterdam: Amsterdam UP, 1994), 96-104.

Thomas Elsaesser, "Literature after Television", in Thomas Elsaesser, Jan Simons and Lucette Bronk (eds), Writing for the Medium: Television in Transition (Amsterdam: Amsterdam UP, 1994), 147-158.

Thomas Elsaesser, "Gee-Wizards of the Box," in Thomas Elsaesser, Jan Simons and Lucette Bronk (eds), Writing for the Medium: Television in Transition (Amsterdam: Amsterdam UP, 1994) 191-210.

Thomas Elsaesser, Jan Simons and Lucette Bronk (eds), Writing for the Medium: Television in Transition (Amsterdam: Amsterdam UP, 1994) 254 pp

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

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

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Transnational and World Cinema

Thomas Elsaesser, "World Cinema: Realismus, Evidenz, Präsenz" in Cornelia Bohn, Arno Schubbach, Leon Wansleben (eds.), Welterzeugung durch Bilder (Stuttgart: Lucius & Lucius, 2012), 386-402

Thomas Elsaesser & Warren Buckland, "Data-Mining Slumdog Millionaire", in Ajay Gehlawat (ed.), The Slumdog Phenomenon: A Critical Anthology (London: Anthem Press, 2013), 179-199

Thomas Elsaesser, “Realism, Evidence, Presence” in Lucia Nagib, Cecilia de Mello (eds), Realism and the Audiovisual Media (Basingstoke: Palgrave/MacMillan, 2009), 3-19

Thomas Elsaesser, “Transnationales Kino in Europa: Jenseits der Identitätspolitik”, Ricarda Strobel, Andreas Jahn-Sudmann (eds.), Film Transnational und Transkulturell (München: Wilhelm Fink Verlag, 2009), 27-44.

Thomas Elsaesser, “Real Location, Fantasy Space, Performative Place: Double Occupancy and Mutual Interference in European Cinema”, in Miyase Christensen & Nezih Erdoğan (eds.), Shifting Landscapes: Film and Media in European Context (Newcastle: Cambridge Scholars Publishing, 2008), 14-32

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.

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Weimar Cinema and Expressionist Film

Thomas Elsaesser, “Inside the Mind, A Soul of Dynamite? Fantasy, Vision Machines, and Homeless Souls in Weimar Cinema”, in L. Kardish (ed.), Weimar Cinema 1919-1933: Daydreams and Nightmares (New York: MoMA, 2010), 24-43

Thomas Elsaesser, „Zwischen Film-Erbe und Film-Erfahrung“, in: Reinhold Schünzel (Munich: text + kritik, 2009)

Thomas Elsaesser, “No End to Nosferatu”, in Noah Isenberg (ed.), Weimar Cinema: An Essential Guide To Classic Films Of The Era (New York: Columbia University Press, 2008), 79-94.

Thomas Elsaesser, “Incontro: una scena di Siegfrieds Tod”: 'I Nibelunghi. La morte di Sigfrido' (1924) di Fritz Lang”, in P. Bertetto & S. Toffetti (eds.), Incontro ai fantasmi: il cinema espressionista [Quaderni del CSC] (Roma: Centro Sperimentale di Cinematografia, 2008), 86-97.

Thomas Elsaesser, “No End to Nosferatu”, booklet DVD edition F.W. Murnau’s Nosferatu (London: ‘Masters of Cinema’ series, 2007)

Thomas Elsaesser, “Social Mobility and the Fantastic”, in Paul Grainge, Mark Jancovich, Sharon Monteith (eds.) Film Histories: An Introduction and Reader (Edinburgh: Edinburgh University Press, 2007), 130-146

Thomas Elsaesser, (in Russian) “Social Mobility and the Fantastic”, in Natalya Samutina (ed.), in Fantasticheskoe kino. Epizod pervyj / Red. N. V. Samutina. Moskow: Novoe literaturnoe obozrenie, 2006, 83-103.

Thomas Elsaesser, “Au Coeur de la pensée, une ame chargée de dynamite?”, in B. Benoliel, M.de Fleury, L. Manoni (eds.) Le cinema expressioniste allemand (Paris: Cinematheque francaise, 2006), 40-51

Thomas Elsaesser, ‘C’est la fin de la chanson: Walter Reisch, l’operette et la double négation’, in M. Cerisuelo (ed.), Vienne et Berlin a Hollywood (Paris: Presses Universitaires de France, 2006), 201-246.

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.

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.

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

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.

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.

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

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).

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

Thomas Elsaesser, "L'ame de dynamite" in B. Eisenschitz, M. de Fleury (eds.), Le cinéma expressionniste allemand: Splendeurs d'une collection (Coédition Cinémathèque française/ Éditions de La Martinière, 2006),

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

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

Thomas Elsaesser, “Das Lied ist Aus, oder wem gehört die Operette”, in Malte Hagener / Jan Hans (eds.) Als die Filme singen lernten: Innovation und Tradition im Musikfilm 1928 – 1938, (Munich: text + kritik, 1999), 85-102.

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

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

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.

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

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

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

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.

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

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

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

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

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

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

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

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

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Articles in Journals

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

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

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

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

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

Thomas Elsaesser Harun farocki: Introduction and dossier, Senses of Cinema, 2002

Thomas Elsaesser, "Back to the Beginnings: A Look Ahead," Film Language (Seoul, Korea) 2003, 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.

Thomas Elsaesser, "Geschichte, Gedächtnis und Medienöffentlichkeit," 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, "Six Degrees of Nosferau," Sight and Sound, February 2001, 12-15

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

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. [2000-2005]

Thomas Elsaesser, "Film: Patrice Petro: Joyless Streets” (review) in: Durham University Journal, July 1999, 267-268 [1990s]

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.

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. [1990s]

Thomas Elsaesser, "What Does Žižek Want?" The Spectator (USA) no 7 (October 1996) 8-23. [1990s]

Thomas Elsaesser, "A German Ancestry to Film Noir?" Iris (Paris) no 21 (Spring 1996) 129-144. [1990s]

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.

Thomas Elsaesser, "Under Western Eyes: Slavoj Žižek," de Gids (Amsterdam), April 1995, 263-272. [1990s]

Thomas Elsaesser, "Everything You've Always Wanted to Know about Slavoj Žižek," 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. [1990s]

Thomas Elsaesser, "What Might We Mean by Media History?" Geschiedenis, Beeld en Geluid, no 28 (Spring 1994) 19-25. [1990s]

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.

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.

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 1988, 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, "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, “Storie di rumore e furore”, Filmcritica 339/340, Nov/Dec 1983, 454-488

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 20, 1983.

Thomas Elsaesser, “Discourse and History - One Man’s War: An Interview with Edgardo Cozarinsky”, Framework 21, 1983

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, “Bloed en Tranen”: Douglas Sirk’s Melodrama, versus 0/1982

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.

Pasolini and Bertolucci, 1977.

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.

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

Michael Guillen, "Brunch with Thomas Elsaesser" The MUBI Interview, 15 March 2011

Zurück in die Zukunft”, Film Dienst, vol 62 no 15 (Juli 2009), 6-9 (interview)

Joke de Wolf; “Thomas Elsaesser: ‘Vroeger kon je film niet meenemen, stilzetten of erdoorheen bladeren’”, Spui 28, 2008/3, 23

M-L Angerer & A. Pluschkowitz: “Interview mit Thomas Elsaesser”, in: Medien Journal 1/1994, 34-40

Interview in Folia 1991

Michael Renov, "Interview Thomas Elsaesser", UC Santa Barbara, 1983

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Thomas Elsaesser • Reguliersgracht 20 • 1017 LR Amsterdam, The Netherlands • Email: elsaesser@uva.nl
Copyright © 2013, Thomas Elsaesser