publications

P U B L I C A T I O N S . P U B L I C A T I O N S . P U B L I C A T I O N S

(2005-1965)

Thomas Elsaesser, European Cinema: Face to Face with Hollywood (Amsterdam: Amsterdam UP, 2005) 566 pp, ill. Sample chapter

Thomas Elsaesser, Rainer Werner Fassbinder: Un cinéaste d'Allemagne (Paris: Centre Pompidou, 2005) 576 pp.

Thomas Elsaesser, Terrorisme, mythes et représentations (Lille: Tausend Augen, ed, collection IdéoSurveillance, 2005) 96 pp, DVD.

Thomas Elsaesser (ed.) Harun Farocki: Working on the Sight Lines (Amsterdam: Amsterdam UP, 2004) 398 pp.

Thomas Elsaesser, A német újfilm (Budapest: Palatinus Kiadó, 2004) 444 pp.

Thomas Elsaesser [with A. Horwath and N. King] (eds)., The Last Great American Picture Show (Amsterdam: Amsterdam UP, 2004) 391 pp, ill.

Thomas Elsaesser [with Warren Buckland], Studying Contemporary American Film (New York: Oxford UP, 2002) 309 pp.

Thomas Elsaesser, Filmgeschichte und frühes Kino (Munich: edition text + kritik, 2002) 346 pp.

Thomas Elsaesser and Michael Wedel (eds), Kino der Kaiserzeit (Munich: text + kritik, 2002) 430 pp.

Thomas Elsaesser, Rainer Werner Fassbinder (Berlin: Bertz Verlag, 2001) 396 pp.

Thomas Elsaesser, Weimar Cinema and After (London: Routledge, 2000) 472 pp.

Thomas Elsaesser, Metropolis (Hamburg/Wien: Europa Verlag, 2001) 135 pp.

Thomas Elsaesser, Metropolis (London: BFI Classic, 2000) 87 pp.

Thomas Elsaesser (ed.), Hollywood op straat (Amsterdam: Vossius Press, 2000) 267 pp.

Thomas Elsaesser, Das Weimarer Kino: aufgeklärt und doppelbödig (Berlin: Vorwerk8, 1999) 386 pp.

Thomas Elsaesser (ed.), The BFI Companion to German Cinema (London: B Film Institute, 1999) 220 pp.

Thomas Elsaesser and Kay Hoffmann (eds), Cinema Futures: Cain, Abel or Cable? The Screen Arts in the Digital Age (Amsterdam: Amsterdam UP, 1998) 312 pp. [Korean translation: Seoul, 2002]

Thomas Elsaesser, Fassbinder's Germany: History Identity Subject (Amsterdam: Amsterdam UP, 1996) 396 pp.

Thomas Elsaesser (ed.), A Second Life: German Cinema's First Decades (Amsterdam: Amsterdam UP, 1996) 352 pp.

Thomas Elsaesser and Carolien Croon (eds), Hoogste Tijd voor een speelfilm (Amsterdam: Theatre Books, 1995) 143 pp.

Thomas Elsaesser, Jan Simons and Lucette Bronk (eds), Writing for the Medium: Television in Transition (Amsterdam: Amsterdam UP, 1994) 220 pp.

Thomas Elsaesser, Der Neue Deutsche Film (Munich: Heyne, 1994) 386 pp.

Thomas Elsaesser, Robert Kievit, Jan Simons (eds), Double Trouble: Chiem van Houweninge on Writing and Filming (Amsterdam: Amsterdam UP, 1994) 197 pp.

Thomas Elsaesser and Karel Dibbets (eds), Nieuwe Doelen: vijf voorbeelden van film- en televisiewetenschap (Amsterdam: Universiteit van Amsterdam, 1991) 70 pp.

Thomas Elsaesser (ed), Early Cinema: Space Frame Narrative (London: BFI and Bloomington: Indiana UP, 1990) 424 pp, ill.

Thomas Elsaesser, New German Cinema: A History (London/Basingstoke: Macmillan, and New Brunswick: Rutgers UP, 1989) 430 pp, ill. (2nd edition, 1994).

Thomas Elsaesser, German Cinema- Seven Decades: Seven Films (London: Goethe Institute, 1985) 32 pp. ill.

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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, R eview

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, R eview

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.

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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, Text (htm)

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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PUBLICATIONS by Language

English

Film History and Early Cinema

The Life of Films: Films Live

Text

The 'New' Film History

in: Sight and Sound, vol 55/4, Autumn 1986, 246-251.

Back to the Future with Early Cinema?

in: Norsk medietidsskrift 2/95, 35-48.

Dada/Cinema?

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

Emile Cohl and the Origins of Cinema

in: Word and Image 8/3 (July/Sep 1992) 284-287.

Hollywood

New Hollywood

Time Travel, Trauma and Thresholds

in: R.M. Friedman, N.Gertz et al(eds.), Blurred Boundaries: The End of a Millenium (Tel Aviv: UP, 1998) 1-18.

Specularity and Engulfment: Francis Ford Coppola and Bram Stoker's Dracula

in: S. Neale and M. Smith (eds.), Contemporay Hollywood Cinema (London: Routledge, 1998) 191 -208.

Apocalypse Now: The Hollow Heart of Hollywood (with M. Wedel)

in: Gene Moore (ed.) Joseph Conrad on Film (Cambridge: Cambridge UP, 1997) 151-175.

Robert Altman's 'Nashville': Putting on the Show

in: Persistence of Vision 1, Summer 1984, 35-43.

The Pathos of Failure: The Unmotivated Hero in Hollywood of the 1970s

in: Monogram 6, 1975, 13-19.

Classical Hollywood

The Dandy in Hitchcock

in: R. Allan, S. Ishii-Gonzales (eds), Alfred Hitchcock Centenary Essays (London: BFI, 1999) 3-14.

The Painted Portrait/ le portrait peint au cinéma: Mirror, Muse, Medusa

in: Iris 14-15, 1992, 147-160.

Tales of Sound and Fury: The Hollywood Family Melodrama

in: G.Mast, M.Cohen, L.Braudy (eds.) Film Theory And Criticism (New York: Oxford UP, 1992) 244-258.

Screen Violence: A Clockwork Orange

in: C.W.E.Bigsby, ed. Approaches to Popular Culture (London, Edward Arnold, 1976) 171-200.

Hollywood and the Cinephiles

in: C.W.E Bigsby,ed., Superculture (London, Elek, 1975) 199-216.

Vincente Minnelli

in: C. Gledhill, Home is Where the Heart is (London: BFI, 1986) 217-222.

Why Hollywood?

in: Monogram 1, 1971, 4-10.

The American Musical

in: Brighton Film Review 18, February 1970.

Film Theory

From Censorship to Over-Exposure: The Red Army Fraction

in: L. Quaresima, A. Rengo, L. Vichi (eds.), I limiti della raresentazione/The Bounds of Representation (Udine: Forum, 2000) 289-308.

Truth or Dare: Reality Checks on Indexicality,or the Future of Illusion

in: A. Koivunnen, A. Soderbergh-Widding (eds.), Cinema Studies into Visual Theory? (Turku: D-Vision, 1999) 31-50.

Re-Writing the Classic Film Image

in: M. Bal (ed.) The Practice of Cultural Analysis (Stanford: Stanford UP, 1999) 60-74.

Presenting Stanley Cavell

in: ASCA Yearbook (Amsterdam: ASCA, 1999) 107-115. Text

What Does Zizek Want?

in The Spectator (USA) no 7 (October 1996) 8-23.

From Sign to Mind: The Second Film Semiology?

in: W Buckland, ed., The Film Spectator: From Sign to Mind (Amsterdam: Amsterdam UP, 1995) 3-7.

Introduction to Slavoj Zizek

in: Thomas Elsaesser et al (eds.), Brief: ASCA Yearbook (Kampen: Kok Pharos, 1996) 48-50.

Everything You've Always Wanted to Know about Slavoj Zizek

in: International Journal of Psychoanalysis (April 1995) 143-149.

Film and Linguistics (with Emile Poe)

in: R.E.Asher (ed), The Encyclopedia of Language and Linguistics (Oxford: Pergamon Press, 1994), vol 3, 1225-1241. Text

Film Studies in Search of the Object

in: Film Criticism, vol XVII, 2-3, Winter/Spring 1993, 40-47.

Film Studies Now: Wittgenstein and Stanley Cavell

in: Word and Image, March 1989.

Introduction to Harun Farocki

Text

It Started with these Images: Harun Farocki

in: Discourse no 7, Fall 1986, ??.