Master's

prof. dr. T.P. Elsaesser


Personal Website

For  more information, visit my personal website. A list of publications can also be found at the University of Amsterdam's Digital Academic Repository. 

Please note

Since June 2008 I have retired from my teaching position and continue to be  associated with the Department of Media and Culture as Professor Emeritus.
Mail will reach me via my e-mail account and home address:

Reguliersgracht 20, NL- 1017 LR Amsterdam.

2013

2012

  • T. Elsaesser (2012). R.W. Fassbinder: Prodigal Son, Not Reconciled? In B. Peucker (Ed.), A companion to Rainer Werner Fassbinder (Wiley-Blackwell companions to film directors, 3) (pp. 45-52). Malden: Wiley-Blackwell.
  • T. Elsaesser (2012). The stubborn persistence of Alexander Kluge. In T. Forrest (Ed.), Alexander Kluge: raw materials for the imagination (Film Culture in Transition) (pp. 22-29). Amsterdam: Amsterdam University Press.[go to publisher's site]
  • T. Elsaesser (2012). Cinema and Academia: Of Objects of Love and Objects of Study. In L. Passerini, J. Labanyi & K. Diehl (Eds.), Europe and love in cinema (pp. 27-42). Bristol: Intellect.
  • T. Elsaesser (2012). Die »Rückkehr« der 3D-Bilder: zur Logik und Genealogie des Bildes im 21. Jahrhundert. In G.S. Freyermuth & L. Gotto (Eds.), Bildwerte: Visualität in der digitalen Medienkultur (Bild und Bit, 1) (pp. 25-68). Bielefeld: Transkript.
  • T. Elsaesser (2012). Is nothing new? Turn-of-the-century epistemes in film history. In A. Gaudreault, N. Dulac & S. Hidalgo (Eds.), A companion to early cinema (pp. 587-609). Malden: Wiley-Blackwell.
  • T. Elsaesser (2012). Nashville: putting on the show: or, paradoxes of the "instant" and the "moment". In C. Lucia, R. Grundmann & A. Simon (Eds.), The Wiley-Blackwell history of American film. - Vol. III: 1946-1975 (pp. 528-546). Chichester: Wiley-Blackwell.
  • T. Elsaesser & M. Hagener (2012). 토마스 엘새서·말테 하게너. Seoul: 커뮤니케이션북스 [Communication Books].
  • T. Elsaesser (2012). Rainer Werner Fassbinder. - 2., überarb. Aufl (Film, 9). Berlin: Bertz & Fischer.
  • T. Elsaesser & B. Ḥagin (2012). Zikaron, ṭraʼumah u-fanṭazyah ba-ḳolnoʻa ha-Amqriḳani = Memory, trauma and fantasy in American cinema. Raʻananah: Ha-Universiṭah ha-Petuḥah [Open University of Israel].
  • T. Elsaesser (2012). The persistence of Hollywood. New York: Routledge.
  • T. Elsaesser (2012). Post-heroische Erzählungen: Jean Luc Nancy, Claire Denis und Beau Travail. In H. Kappelhoff & A. Streiter (Eds.), Die Frage der Gemeinschaft: das westeuropäische Kino nach 1945 (Traversen, 12) (pp. 67-94). Berlin: Vorwerk 8.
  • T. Elsaesser (2012). Gefühlte Opfer: die mediale Inszenierung einer prominenten Rolle. In J. Metelmann & T. Beyes (Eds.), Die Macht der Gefühle: Emotionen in Management, Organisation und Kultur (pp. 109-126). Berlin: Berlin University Verlag.
  • T. Elsaesser (2012). Etwas wird sichtbar. In N. Grob, H.H. Prinzler & E. Rentschler (Eds.), Neuer Deutscher Film (Stilepochen des Films, 6) (pp. 283-292). Stuttgart: Reclam.
  • T. Elsaesser (2012). Migration und Motiv: die (parapraktische) Erinnerung an ein Bild. In P. Geimer & M. Hagner (Eds.), Nachleben und Rekonstruktion: Vergangenheit im Bild (pp. 159-176). Paderborn: Fink.
  • T. Elsaesser (2012). Auto-contradictions performatives: les jeux mentaux de Michael Haneke. In V. Carré (Ed.), Fragments du monde: retour sur l'oeuvre de Michael Haneke (Collection Ciné-politique) (pp. 15-38). Latresne: Le Bord de l'eau.
  • T. Elsaesser (2012). Stop/motion. In E. Røssaak (Ed.), Between stillness and movement: film, photography, algorithms (Film Culture in Transition) (pp. 109-122). Amsterdam: Amsterdam University Press.[go to publisher's site]
  • T. Elsaesser (2012). European Cinema and the Postheroic Narrative: Jean-Luc Nancy, Claire Denis, and 'Beau Travail'. New Literary History, 43 (4), 703-725. doi: 10.1353/nlh.2012.0044
  • T. Elsaesser & M. Hagener (2012). Kino teorija: įvadas per juslių prizmę. (Kino raštai). Vilnius: Mintis.
  • T. Elsaesser (2012). Metropolis. - 2nd ed. (BFI film classics, 54). London: Palgrave Macmillan.
  • T. Elsaesser (2012). Our Hitler - A Film by Hans-Jürgen Syberberg. In K. Machtans & M.A. Ruehl (Eds.), Hitler: films from Germany: history, cinema and politics since 1945 (The Holocaust and its contexts) (pp. 72-96). Basingstoke: Palgrave Macmillan.
  • T. Elsaesser (2012). Caché (Hidden) [Review of the book Caché. - (BFI film classics)]. Sight and Sound, 22(12), 123.
  • T. Elsaesser (2012). World Cinema: Realismus, Evidenz, Präsenz. Soziale Systeme, 18 (1+2), 386-402.

2011

  • T. Elsaesser (2011). Modernity: The Troubled Trope. In D.L. Madsen & M. Klarer (Eds.), The visual culture of modernism Vol. 26. SPELL (pp. 21-40). Tübingen: Narr.
  • T. Elsaesser (2011). La película de estratagema: jugando juegos. Hueso Húmero, 57, 99-135.
  • T. Elsaesser (2011). Il ritorno del 3D: lociga e genealogie dell'immagine del XXI Secolo. Imago, 2011 (1), 49-68. doi: 10.1400/188761[go to publisher's site]
  • T. Elsaesser (2011). Reexaminando el cine de atracciones: cambios epistémicos, realineamientos diegéticos y el retorno de Rube en los medios digitales. Imagofagia, 3.[go to publisher's site]
  • T. Elsaesser (2011). Kodak Carousel. In D. Link & N. Röller (Eds.), Objects of knowledge of art and of friendship: a small technical encyclopaedia for Siegfried Zielinski (pp. 68-71). Leipzig: Institut für Buchkunst.
  • T. Elsaesser (2011). Entre savoir et croire: le dispositif cinématographique après le cinéma. In F. Albera & M. Tortajada (Eds.), Ciné-dispositifs: spectacles, cinéma, télévision, littérature (Collection "Histoire et esthétique du cinéma" / Série "Travaux") (pp. 39-74). Lausanne: L'Age d’Homme.
  • T. Elsaesser (2011). 'Casting Around': Hitchcock's Absence. In J. Grimonprez & B.. Detalle (Eds.), "It's a poor sort of memory that only works backwards": on the work of Johan Grimonprez (pp. 151-172). Ostfildern: Hatje Cantz.
  • T. Elsaesser (2011). A Bazinian Half-Century. In D. Andrew & H. Joubert-Laurencin (Eds.), Opening Bazin: postwar film theory and its afterlife (pp. 3-12). New York: Oxford University Press.
  • T. Elsaesser (2011). Muse und Medusa: das gemalte Porträt in Jacques Tourneurs Experiment Perilous. In H. Keazor, F. Liptay & S. Marschall (Eds.), FilmKunst: Studien an den Grenzen der Künste und Medien (pp. 225-238). Marburg: Schüren.
  • T. Elsaesser (2011). Filmvermittlung zwischen Rückbezüglichkeit, Reflexivität und Remediaton: D3D und Avatar. In G. Sommer, V. Hediger & O. Fahle (Eds.), Orte filmischen Wissens: Filmkultur und Filmvermittlung im Zeitalter digitaler Netzwerke (Zürcher Filmstudien, 26) (pp. 239-254). Marburg: Schüren.
  • T. Elsaesser (2011). 'Le mensonge de l'image est la vérité de notre monde': les archéologies, épistémologies et ontologies du cinéma. In P. Beylot, I. Le Corff & M. Marie (Eds.), Les images en question: cinéma, télévision, nouvelles images: les voies de la recherche (Cinéma(s)) (pp. 17-34). Pessac: Presses Universitaires de Bordeaux.
  • T. Elsaesser (2011). Aus der Geschichte der Zukunft: 'Die Stadt von Morgen'. In H. Barr (Ed.), Neues Wohnen 1929/2009: Frankfurt und der 2. Congrès International d'Architecture Moderne: Beiträge des internationalen Symposiums in Frankfurt am Main, 22.-24.10.2010 (pp. 14-26). Berlin: Jovis.
  • T. Elsaesser (2011). Vom Tod als Experiment im Leben zum Kino der ethischen Handlungsmacht: Fatih Akin und die 'Ethische Wende'. In T. Schick & T. Ebbrecht (Eds.), Kino in Bewegung: Perspektiven des deutschen Gegenwartsfilms (pp. 41-62). Wiesbaden: VS, Verlag für Sozialwissenschaften.
  • T. Elsaesser (2011). Freud and the Technical Media: The Enduring Magic of the Wunderblock. In E. Huhtamo & J. Parikka (Eds.), Media archaeology: approaches, applications, and implications (pp. 95-118). Berkeley, CA: University of California Press.
  • T. Elsaesser & M. Hagener (2011). Le cinéma et les sens: théorie du film (Le Spectaculaire. Série Cinéma). Rennes: Presses universitaires de Rennes.
  • T. Elsaesser (2011). Politics, multiculturalism and the ethical turn: the cinema of Fatih Akin. In B. Hagin, S. Meiri, R. Yosef & A. Zanger (Eds.), Just images: ethics and the cinematic (pp. 1-18). Newcastle: Cambridge Scholars Publishing.
  • T. Elsaesser (2011). James Cameron’s Avatar: access for all. New Review of Film and Television Studies, 9 (3), 247-264. doi: 10.1080/17400309.2011.585854
  • T. Elsaesser (2011). Mellom abstraksjon og stofflighet: lyd, kropp, stemme. Z, 2011 (1), 56-72.[go to publisher's site]

2010

  • T. Elsaesser (2010). Sperimentando con la morte, nella vita: Fatih Akin e la svolta etica. Imago, 2010 (2), 109-124.
  • T. Elsaesser (2010). Pohjalla: Aki Kaurismäki ja abjekti subjekti. Lähikuva, 2010 (2), 7-27.
  • T. Elsaesser (2010). Haptic vision and consumerism: a moment from Fritz Lang's 'Siegfried' (1924). In T. Brown & J. Walters (Eds.), Film moments: criticism, history, theory (A BFI book) (pp. 70-73). Basingstoke: Palgrave MacMillan.
  • T. Elsaesser (2010). Hitting bottom: Aki Kaurismäki and the abject subject. Journal of Scandinavian Cinema, 1 (1), 105-122. doi: 10.1386/jsca.1.1.105_1
  • T. Elsaesser (2010). Diagonale Erinnerung: Geschichte als Palimpsest in 'Sterne'. In H. Kappelhoff, B. Gross & D. Illger (Eds.), Demokratisierung der Wahrnehmung? Das westeuropäische Nachkriegskino (Traversen, 11) (pp. 95-114). Berlin: Vorwerk 8.
  • T. Elsaesser (2010). 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 (pp. 24-43). New York, NY: Museum of Modern Art.
  • T. Elsaesser (2010). Berlin 'Isle de Memoire': mediale Spuren einer Geschichte auf der Suche nach ihrem Familienroman. In S. Costagli & M. Galli (Eds.), Deutsche Familienromane: literarische Genealogien und internationaler Kontext (pp. 233-250). München: Wilhelm Fink.
  • T. Elsaesser (2010). Performative self-contradictions: Michael Haneke's mind games. In R. Grundmann (Ed.), A companion to Michael Haneke (Wiley-Blackwell companions to film directors, 1) (pp. 53-74). Oxford: Wiley-Blackwell.
  • T. Elsaesser (2010). Time, space and causality: Joe May, Fritz Lang and the modernism of German detective film. Modernist Cultures, 5 (1), 79-105. doi: 10.3366/mod.2010.0007

2009

  • T. Elsaesser (2009). Holocaust memory as the epistemology of forgetting? Re-wind and postponement in 'Respite'. In A. Ehmann & K. Eshun (Eds.), Harun Farocki. Against what? Against whom? (pp. 57-68) London: Koenig Books.
  • T. Elsaesser (2009). Fiona Tan: place after place. In S. Bos (Ed.), Fiona Tan - Disorient: Dutch Pavilion, La Biennale di Venezia (pp. 2.20-2.33). Heidelberg: Kehrer.
  • T. Elsaesser (2009). Tales of epiphany and entropy: paranarrative worlds on YouTube. In W. Buckland (Ed.), Film theory and contemporary Hollywood movies (AFI film readers) (pp. 150-171). New York, NY: Routledge.
  • T. Elsaesser (2009). Archives and archaeologies: the place of non-fiction film in contemporary media. In V. Hediger & P. Vonderau (Eds.), Films that work: industrial film and the productivity of media (Film culture in transition) (pp. 19-34). Amsterdam: Amsterdam University Press.
  • T. Elsaesser (2009). Tales of epiphany and entropy: around the world in eighty clicks. In P. Snickars & P. Vonderau (Eds.), The YouTube Reader (Mediehistoriskt arkiv, 12) (pp. 166-186, 494). Stockholm: National Library of Sweden.
  • T. Elsaesser (2009). Too big and too close: Alfred Hitchcock and Fritz Lang. In S. Gottlieb & R. Allen (Eds.), The Hitchcock annual anthology: selected essays from volumes 10-15 (pp. 146-170). London: Wallflower.
  • T. Elsaesser (2009). 'Konstruktive Instabilität', oder: Das Leben der Dinge als Nachleben des Kinos? In S. Buchmann, H. Draxler & S. Geene (Eds.), Film Avantgarde Biopolitik (Schriften der Akademie der bildenden Künste Wien, 9) (pp. 86-119). Wien: Schlebrügge.
  • T. Elsaesser (2009). Arresting the Moving Image. [Review of the book Negotiating Immobility: The Moving Image and the Arts in Andy & Larry Wachowski's The Matrix, Ken Jacob's Tom, Tom, the piper's son and Bill Viola's The passions]. Norsk Medietidsskrift, 15(4), 73-78.[go to publisher's site]
  • T. Elsaesser (2009). Freud as Media Theorist: mystic writing pads and the matter of memory. Screen, 50 (1), 100-113. doi: 10.1093/screen/hjn078
  • T. Elsaesser (2009). Archaeologies of Interactivity: Early Cinema, Narrative and Spectatorship. In A. Ligensa & K. Kreimeier (Eds.), Film 1900: technology, perception, culture (pp. 9-22). New Barnet: John Libbey.
  • T. Elsaesser & M. Hagener (2009). Teoria del film: un' introduzione (Piccola biblioteca Einaudi. Nuova serie, 445). Torino: Einaudi.
  • T. Elsaesser (2009). Nowa Historia Filmu jako archeologia mediów. Kwartalnik Filmowy, 67-68, 8-41.
  • T. Elsaesser (2009). Between Erlebnis and Erfahrung: cinema experience with Benjamin. Paragraph, 32 (3), 292-312. doi: 10.3366/E0264833409000625
  • T. Elsaesser (2009). Stepping sideways: SCMS Lifetime Membership address: March 6, 2008, Philadelphia, PA. Cinema Journal, 49 (1), 121-127. doi: 10.1353/cj.0.0159
  • T. Elsaesser (2009). Sonnen-Insulaner: on a Berlin island of memory. In U. Staiger, H. Steiner & A. Webber (Eds.), Memory culture and the contemporary city: building sites (pp. 32-51). Basingstoke: Palgrave Macmillan.
  • T. Elsaesser (2009). World cinema: realism, evidence, presence. In L. Nagib & C. Mello (Eds.), Realism and the audiovisual media (pp. 3-19). Basingstoke: Palgrave Macmillan.
  • T. Elsaesser (2009). Identidad racial, autenticidad y exilio: los directores alemanes y Hollywood. In C. Losilla (Ed.), En tránsito: Berlín-París-Hollywood: más allá de la historia del cine (pp. 41-63, 208-210). Madrid: T&B.
  • T. Elsaesser (2009). Expresionismo e cinema alemán. In C. Losilla (Ed.), En tránsito: Berlín-París-Hollywood: más allá de la historia del cine (pp. 33-40). Madrid: T&B.
  • T. Elsaesser (2009). Chacun au monde a deux patries: los exiliados alemanes y el Paris de la década de 1930. In C. Losilla (Ed.), En tránsito: Berlín-París-Hollywood: más allá de la historia del cine (pp. 65-84, 210-212). Madrid: T&B.
  • T. Elsaesser (2009). Ingmar Bergman in the museum? Thresholds, limits, conditions of possibility. Journal of Aesthetics & Culture, 1. doi: 10.3402/jac.v1i0.2123
  • T. Elsaesser (2009). Histoire palimpseste, mémoires obliques. À propos de 'Sterne' de Konrad Wolf. 1895. Revue d'Histoire du Cinéma, 58, 10-29.
  • T. Elsaesser (2009). No end to 'Nosferatu' (1922). In N. Isenberg (Ed.), Weimar cinema: an essental guide to classic films of the era (Film and culture series) (pp. 79-94). New York, NY: Columbia University Press.
  • T. Elsaesser (2009). Ein halbes Jahrhundert im Zeichen Bazins. Montage/AV, 18 (1), 11-31.
  • T. Elsaesser (2009). Vincente Minnelli. In J. McElhaney (Ed.), Vincente Minnelli: the art of entertainment (Contemporary approaches to film and television series) (pp. 79-96). Detroit, MI: Wayne State University Press.
  • T. Elsaesser & M. Wedel (2009). Einblick von außen? Die DEFA, Konrad Wolf und die internationale Filmgeschichte. In M. Wedel & E. Schieber (Eds.), Konrad Wolf - Werk und Wirkung Vol. 63. Beiträge zur Film- und Fernsehwissenschaft (pp. 29-56). Berlin: Vistas.
  • T. Elsaesser (2009). The mind-game film. In W. Buckland (Ed.), Puzzle films: complex storytelling in contemporary cinema (pp. 13-41). Chichester [etc.]: Wiley-Blackwell.
  • T. Elsaesser (2009). Vergebliche Rettung: Geschichte als Palimpsest in 'Sterne'. In M. Wedel & E. Schieber (Eds.), Konrad Wolf - Werk und Wirkung Vol. 63. Beiträge zur Film- und Fernsehwissenschaft (pp. 73-92). Berlin: Vistas.
  • T. Elsaesser (2009). Transnationales Kino in Europa: jenseits der Identitätspolitik: doppelte Besetzung, Interpassivität und gegenseitige Einmischung. In R. Strobel & A. Jahn-Sudmann (Eds.), Film transnational und transkulturell: europäische und amerikanische Perspektiven (pp. 27-44). München [etc.]: Wilhelm Fink.
  • T. Elsaesser (2009). Rainer Werner Fassbinder: hoe men Duitser wordt. In F. Boterman & W. Melching (Eds.), Het wonder Bondsrepubliek in 20 portretten (pp. 150-163, 327-328). [Amsterdam]: Nieuw Amsterdam.

2008

  • T. Elsaesser (2008). Afterword: Digital cinema and the apparatus: archaeologies, epistemologies, ontologies. In B. Bennett, M. Furstenau & A. Mackenzie (Eds.), Cinema and technology: cultures, theories, practices (pp. 226-240). Basingstoke: Palgrave MacMillan.
  • T. Elsaesser (2008). 'Die Nibelungen. Siegfried': '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) (pp. 86-97). [Roma]: Centro Sperimentale di Cinematografia.
  • T. Elsaesser (2008). Ingmar Bergman im Museum? Grenzbereiche, Limiten, Möglichkeitsbedingungen. In In silent conversation with Ingmar Bergman: Kunstmuseum Thun (pp. 14-23). Basel: Christoph Merian Verlag.
  • T. Elsaesser (2008). Ingmar Bergman in the museum? Thresholds, limits, conditions of possibility. In In silent conversation with Ingmar Bergman: Kunstmuseum Thun (pp. 92-100). Basel: Christoph Merian Verlag.
  • T. Elsaesser (2008). Ingmar Bergman in the Museum? Thresholds, Limits, Conditions of Possibility. Site, 24, 2-3.
  • T. Elsaesser (2008). Opowieści wściekłości i wrzasku: uwagi o rodzinnym melodramacie. Studia Filmoznawcze, 29, 11-39.
  • T. Elsaesser (2008). Sauts temporels et dé-placements: Le souvenir du travail dans les machines de vision de Farocki. Intermedialités, 11, 35-51. doi: 10.7202/037536ar
  • T. Elsaesser (2008). Etnicita, autenticita a exil: falešný obchod? Němečtí filmoví tvůrci a Hollywood. Iluminace : časopis pro teorii, historii a estetiku filmu, 20 (2), 35-58.
  • T. Elsaesser (2008). The future of 'art' and 'work' in the age of vision machines: Harun Farocki. In R. Halle & R. Steingröver (Eds.), After the avant-garde: contemporary German and Austrian experimental film (Screen cultures: German film and the visual) (pp. 31-49). Rochester, NY: Camden House.
  • T. Elsaesser (2008). 'Constructive instability', or: The life of things as the cinema's afterlife? In G. Lovink & S. Niederer (Eds.), Video Vortex reader: responses to YouTube (pp. 13-31). Amsterdam: Institute for Network Cultures.[go to publisher's site]
  • T. Elsaesser (2008). History, media, memory: three discourses in dispute? In U. Ekman & F. Tygstrup (Eds.), Witness: memory, representation, and the media in question (pp. 393-413). Copenhagen: Museum Tusculanum Press [etc.].
  • T. Elsaesser (2008). Marathon man: the stubborn persistence of Alexander Kluge, German cinema's polymathic master strategist. Film Comment, 44 (3), 52-64.
  • T. Elsaesser (2008). Antigone Agonistes: urbana gerila ili gerilski urbanizam? Frakcija crvene armije, Njemačka u jesen i Igra smrti. In S. Horvat (Ed.), Mai 68 (Up & Underground art dossier, 13/14) (pp. 192-221). Zagreb: Bijeli Val.

2007

  • T. Elsaesser (2007). Social Mobility and the Fantastic. In N. Samutina (Ed.), Fantastical Cinema (pp. 83-103). Moscow: New Literary Review.
  • T. Elsaesser (2007). Social mobility and the fantastic: German silent cinema. In P. Grainge, M. Jancovich & S. Monteith (Eds.), Film histories: an introduction and reader (pp. 130-146). Edinburgh: Edinburgh University Press.
  • T. Elsaesser (2007). Invisible dans l'ubiquité: a la recherche de Walter Reisch. In I. Bessiere (Ed.), Hollywood, les fictions de l'exil. Paris: Nouveau monde editions.
  • T. Elsaesser (2007). L'auteur, l'exile el la poetique de la dispersion: Roman Polanski et "Chinatown". In I. Bessiere (Ed.), Hollywood, les fictions de l'exil (pp. 143-162). Paris: Nouveau monde éditions.
  • T. Elsaesser & M. Wedel (2007). Mimesis, Mimicry and the Metropolis: A Century of Berlin's Multi-National Film Cultures. In G. Weis-Sussex & U. Zizselberger (Eds.), Berlin: Kultur und Metropole in den zwanziger und seit den neunziger Jahren (Publications of the Institute of Germanic Studies, 91) (pp. 138-154). München: Iudicium.
  • T. Elsaesser (2007). Kontingenz und Handlungsmacht im zeitgenössischen Kino. In I Becker, M. Cuntz & A. Kusser (Eds.), Unmenge: Wie verteilt sich Handlungsmacht? Paderborn: Fink.
  • T. Elsaesser (2007). Von der Filmwissenschaft zu den Cultural Studies und zurück: Der Fall Grossbritannien. Zeitschrift für Kulturwissenschaften.
  • T. Elsaesser (2007). Tears, Timing, Trauma: Film Melodrama as Cultural Memory. In E. Dagrada (Ed.), Il Melodramma. Rome: Bulzoni Editore.
  • T. Elsaesser (2007). Archive und Archaelogien: Der Ort des nicht-fiktionalen Films in den Medien heute. In V. Hediger & P. Vonderau (Eds.), Filmische Mittel, industrielle Zwecke (pp. 34-53). Berlin: Verlag Vorwerk 8.
  • T. Elsaesser (2007). Casting Around: Hitchcock's Absence. In J. Grimonprez (Ed.), Looking for Alfred: The Hitchcocks Castings (pp. 139-161). Hatje Crantz.
  • T. Elsaesser (2007). Cinephilia - Film Studies - Cultural Studies. Frame.

2006

  • T. Elsaesser (2006). Zu gross und zu nah: Alfred Hitchcock und Fritz Lang. In T. Koebner & T. Meder (Eds.), Bildtheorie und Film (edition text + kritik) (pp. 454-475). Munich.
  • T. Elsaesser (2006). Au Coeur de la pensée, une ame chargée de dynamite? In B. Benoliel & de M. Fleury (Eds.), Le cinema expressioniste allemand (pp. 40-51). Paris: Cinematheque francaise.
  • T. Elsaesser (2006). La notion de genre et le film comme produit « semi-fini » : l’exemple de 'Weihnachtsglocken' de Franz Hofer (1914). 1895. Revue d'Histoire du Cinéma, 50, 67-85.
  • T. Elsaesser (2006). Social Mobility and the Fantastic (in Russisch). New Literary Review, 83-103.
  • T. Elsaesser (2006). Fury. In M. Baute & V. Pantenburg (Eds.), Night of the Hunter (Minutentexte) (pp. 271-271). Berlin: Brinkman + Bose.
  • T. Elsaesser (2006). Gewalt im Kino: das Regime der Brüder. In A. von der Heiden (Ed.), Ideologische Mechanismen der Gewalt (pp. 135-164). Weimar: VDG.
  • T. Elsaesser (2006). Double occupancy: space, place and identity in European cinema of the 1990s. Third Text, 20 (6), 647-658.
  • T. Elsaesser (2006). The Camera in the Kitchen: Grete Schütte-Lihotsky and Domestic Modernity. In C. Schönfeld (Ed.), Practicing Modernity: Female Creativity in the Weimar Republic (pp. 27-49). Würzberg: Königshausen & Neumann.
  • T. Elsaesser (2006). Geschichten und Gedächtnis: Zur Poetik der Fehlleistung im Mainstreamkino. In I. Schenk & C. Rüffert (Eds.), Experiment Mainstream? Differenz und Uniformierung im populären Kino (pp. 31-42). Berlin: Bertz & Fischer.
  • T. Elsaesser (2006). Antigone Agonistes; urbana gerila ili gerilski urbanizam? Prelom, 6/7, 153-186.
  • T. Elsaesser (2006). C'est la fin de la chanson: Walter Reisch, l 'operette et la double négation. In M. Cerisuelo (Ed.), Vienne et Berlin a Hollywood (pp. 201-246). Paris: Presses Universitaires de France.
  • T. Elsaesser (2006). Discipline through Diegesis: The Rube film between attraction and integration. In W. Strauven (Ed.), The Cinema of Attractions Reloaded (pp. 205-223). Amsterdam: Amsterdam University Press.
  • T. Elsaesser (2006). European Cinema: Legacy of East and West, Ethnicity and History. Monitor, VIII (2), 145-169.

2010

2009

  • T. Elsaesser (2009). Hollywood heute: Geschichte, Gender und Nation im postklassischen Kino (Deep focus, 1). Berlin: Bertz + Fischer.
  • T. Elsaesser (2009). Real location, fantasy space, performative place: double occupancy and mutual interference in European cinema. In T. Trifanova (Ed.), European film theory (AFI film readers) (pp. 47-61). New York: Routledge.

2008

  • T. Elsaesser (2008). Ingmar Bergman's The Serpent's Egg: reflections of reflections on retro-fashion. In M. Koskinen (Ed.), Ingmar Bergman revisited: performance, cinema and the arts (pp. 161-179). London: Wallflower.
  • T. Elsaesser (2008). Das Digitale und das Kino: Um-Schreibung der Filmgeschichte? In D. Kloock (Ed.), Zukunft Kino: the end of the reel world (pp. 42-59). Marburg: Schüren.
  • T. Elsaesser (2008). Real location, fantasy space, performative place: double occupancy and mutual interference in European cinema. In M. Christensen & N. Erdoğan (Eds.), Shifting landscapes: film and media in European context (pp. 14-32). Newcastle: Cambridge Scholars.
  • T. Elsaesser (2008). Freud e i media tecnologici: la perdurante magia del Wunderblock. In L. Albano & V. Pravadelli (Eds.), Cinema e psicoanalisi: tra cinema classico e nuove tecnologie (pp. 81-108). Macerata: Quodlibet.
  • T. Elsaesser (2008). Melodrama: Genre, Gefühl oder Weltanschauung? In M. Frölich, K. Gronenborn & K. Visarius (Eds.), Das Gefühl der Gefühle: zum Kinomelodram (Arnoldshainer Filmgespräche, 25) (pp. 11-34). Marburg: Schüren.
  • T. Elsaesser (2008). City of light, gardens of delight. In A. Webber & E. Wilson (Eds.), Cities in transition: the moving image and the modern metropolis (pp. 88-101). London: Wallflower.

2007

  • T. Elsaesser (2007). Terror und Trauma. Zur Gewalt des Vergangenen in der BRD. Berlin: Kulturverlag Kadmos.
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