Fotograaf: onbekend

dhr. prof. dr. T.P. (Thomas) Elsaesser


  • Faculteit der Geesteswetenschappen
  • Bezoekadres
    Spuistraat 134  
  • Postadres:
    Postbus  15540
    1001 NA  Amsterdam
  • T.P.Elsaesser@uva.nl

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

  • Elsaesser, T. (2013). A film noir német eredete? A filmtörténet és az ő imagináriusa. Apertúra : Filmelméleti és Filmtörténeti Szakfolyóirat, 2013(Summer). [details] 
  • Elsaesser, T. (2013). Ha-poʾeṭiḳah ṿeha-poliṭ̣iḳah shel ha-parapraḳsis. In S. Meʿiri, Y. Munḳ, . A. Mendelson-Maʿoz, & L. Shṭayer-Livni (Eds.), Zehuyot be-hithavut ba-tarbut ha-Yiśreʾelit: sefer ha-yovel li-khevod Nurit Gerts = Identifies in transition in Israeli culture (pp. 407-426). Raʿananah: Ha-Universiṭah ha-Petuḥah [Open University of Israel]. [details] 
  • Elsaesser, T. (2013). ImpersoNations: cinéma national, imaginaires historiques et nouveau cinéma européen. Mise au Point, 5. [details] 
  • Elsaesser, T. (2013). ImpersoNations: national cinema, historical imaginaries and New Cinema Europe. Mise au Point, 5. [details] 
  • Elsaesser, T. (2013). Los actos tienen consecuencias. Lógicas del mind-game film en la trilogía de Los Ángeles de David Lynch. L’Atalante, 15, 7-18. [details] 
  • Elsaesser, T. (2013). Maratończyk: Alexander Kluge - zawzięty strateg i erudyta niemieckiego kina. Ekrany, 2013(5), 56-61. [details] 
  • Elsaesser, T. (2013). Multiculturalism: Europe’s Hope or Liberalism’s Hype? In Voortschrijdend inzicht: omdat de wetenschap niet stil staat (pp. 88-91). Amsterdam: Amsterdam University Press. [details] 
  • Elsaesser, T. (2013). Saving Private Ryan: Retrospektion, Überlebensschuld und affektives Gedächtnis. In H. Kappelhoff, D. Gaertner, & C. Pogodda (Eds.), Mobilisierung der Sinne: der Hollywood-Kriegsfilm zwischen Genrekino und Historie (pp. 61-87). (Traversen; No. 13). Berlin: Vorwerk 8. [details] 
  • Elsaesser, T. (2013). The "return" of 3-D: on some of the logics and genealogies of the image in the twenty-first century. Critical Inquiry, 39(2), 217-246. DOI: 10.1086/668523  [details] 
  • Elsaesser, T. (2013). Theatricality and Spectacle in La Règle du jeu, Le Carosse d'or, and Éléna et les hommes. In A. Philipps, & G. Vincendeau (Eds.), A companion to Jean Renoir (pp. 237-254). (Wiley-Blackwell companions to film directors; No. 9). Chichester: Wiley-Blackwell. [details] 
  • Elsaesser, T., & Buckland, W. (2013). The life-cycle of Slumdog Millionaire on the Web. In A. Gehlawat (Ed.), The Slumdog phenomenon: a critical anthology (pp. 179-199). (New perspectives on world cinema). London: Anthem Press. [details] 

2012

  • Elsaesser, T. (2012). Metropolis. - 2nd ed. (BFI film classics; No. 54). London: Palgrave Macmillan. [details] 
  • Elsaesser, T. (2012). Rainer Werner Fassbinder. - 2., überarb. Aufl. (Film; No. 9). Berlin: Bertz & Fischer. [details] 
  • Elsaesser, T. (2012). The persistence of Hollywood. New York: Routledge. [details] 
  • Elsaesser, T. (2012). Auto-contradictions performatives: les jeux mentaux de Michael Haneke. In V. Carré (Ed.), Fragments du monde: retour sur l'oeuvre de Michael Haneke (pp. 15-38). (Collection Ciné-politique). Latresne: Le Bord de l'eau. [details] 
  • Elsaesser, T. (2012). Caché (Hidden) [Review of: C. Wheatley (2011) Caché. - (BFI film classics)]. Sight and Sound, 22(12), 123. [details] 
  • Elsaesser, T. (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. [details] 
  • Elsaesser, T. (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 (pp. 25-68). (Bild und Bit; No. 1). Bielefeld: Transkript. [details] 
  • Elsaesser, T. (2012). Etwas wird sichtbar. In N. Grob, H. H. Prinzler, & E. Rentschler (Eds.), Neuer Deutscher Film (pp. 283-292). (Stilepochen des Films; No. 6). Stuttgart: Reclam. [details] 
  • Elsaesser, T. (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  [details] 
  • Elsaesser, T. (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. [details] 
  • Elsaesser, T. (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. DOI: 10.1002/9781118274453.ch30  [details] 
  • Elsaesser, T. (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. [details] 
  • Elsaesser, T. (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. DOI: 10.1002/9780470671153.wbhaf066  [details] 
  • Elsaesser, T. (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 (pp. 72-96). (The Holocaust and its contexts). Basingstoke: Palgrave Macmillan. DOI: 10.1057/9781137032386.0009  [details] 
  • Elsaesser, T. (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 (pp. 67-94). (Traversen; No. 12). Berlin: Vorwerk 8. [details] 
  • Elsaesser, T. (2012). R.W. Fassbinder: Prodigal Son, Not Reconciled? In B. Peucker (Ed.), A companion to Rainer Werner Fassbinder (pp. 45-52). (Wiley-Blackwell companions to film directors; No. 3). Malden: Wiley-Blackwell. [details] 
  • Elsaesser, T. (2012). Stop/motion. In E. Røssaak (Ed.), Between stillness and movement: film, photography, algorithms (pp. 109-122). (Film Culture in Transition). Amsterdam: Amsterdam University Press. [details] 
  • Elsaesser, T. (2012). The stubborn persistence of Alexander Kluge. In T. Forrest (Ed.), Alexander Kluge: raw materials for the imagination (pp. 22-29). (Film Culture in Transition). Amsterdam: Amsterdam University Press. [details] 
  • Elsaesser, T. (2012). World Cinema: Realismus, Evidenz, Präsenz. Soziale Systeme, 18(1+2), 386-402. [details] 
  • Elsaesser, T., & Hagener, M. (2012). Kino teorija: įvadas per juslių prizmę. (Kino raštai). Vilnius: Mintis. [details] 
  • Elsaesser, T., & Hagener, M. (2012). 토마스 엘새서·말테 하게너. Seoul: 커뮤니케이션북스 [Communication Books]. [details] 
  • Elsaesser, T., & Ḥagin, B. (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]. [details] 

2011

  • Elsaesser, T. (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. [details] 
  • Elsaesser, T. (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 (pp. 17-34). (Cinéma(s)). Pessac: Presses universitaires de Bordeaux. [details] 
  • Elsaesser, T. (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. [details] 
  • Elsaesser, T. (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. [details] 
  • Elsaesser, T. (2011). Entre savoir et croire: le dispositif cinématographique après le cinéma. In F. Albera, & M. Tortajada (Eds.), Ciné-dispositifs: spectacles, cinéma, télévision, littérature (pp. 39-74). (Collection "Histoire et esthétique du cinéma" / Série "Travaux"). Lausanne: L'Age d’Homme. [details] 
  • Elsaesser, T. (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 (pp. 239-254). (Zürcher Filmstudien; No. 26). Marburg: Schüren. [details] 
  • Elsaesser, T. (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. [details] 
  • Elsaesser, T. (2011). Il ritorno del 3D: lociga e genealogie dell'immagine del XXI Secolo. Imago: studi di cinema e media, 2011(1), 49-68. DOI: 10.1400/188761  [details] 
  • Elsaesser, T. (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  [details] 
  • Elsaesser, T. (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. [details] 
  • Elsaesser, T. (2011). La película de estratagema: jugando juegos. Hueso Húmero, 57, 99-135. [details] 
  • Elsaesser, T. (2011). Mellom abstraksjon og stofflighet: lyd, kropp, stemme. Z, 2011(1), 56-72. [details] 
  • Elsaesser, T. (2011). Modernity: The Troubled Trope. SPELL, 26, 21-40. DOI: 10.5169/seals-283962  [details] 
  • Elsaesser, T. (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. [details] 
  • Elsaesser, T. (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. [details] 
  • Elsaesser, T. (2011). Reexaminando el cine de atracciones: cambios epistémicos, realineamientos diegéticos y el retorno de Rube en los medios digitales. Imagofagia, 3. [details] 
  • Elsaesser, T. (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. DOI: 10.1007/978-3-531-92804-3_4  [details] 
  • Elsaesser, T., & Hagener, M. (2011). Le cinéma et les sens: théorie du film. (Le Spectaculaire. Série Cinéma). Rennes: Presses Universitaires de Rennes. [details] 

2010

  • Elsaesser, T. (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. [details] 
  • Elsaesser, T. (2010). Diagonale Erinnerung: Geschichte als Palimpsest in 'Sterne'. In H. Kappelhoff, B. Gross, & D. Illger (Eds.), Demokratisierung der Wahrnehmung? Das westeuropäische Nachkriegskino (pp. 95-114). (Traversen; No. 11). Berlin: Vorwerk 8. [details] 
  • Elsaesser, T. (2010). Haptic vision and consumerism: a moment from Fritz Lang's 'Siegfried' (1924). In T. Brown, & J. Walters (Eds.), Film moments: criticism, history, theory (pp. 70-73). (A BFI book). Basingstoke: Palgrave Macmillan. [details] 
  • Elsaesser, T. (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  [details] 
  • Elsaesser, T. (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. [details] 
  • Elsaesser, T. (2010). Performative self-contradictions: Michael Haneke's mind games. In R. Grundmann (Ed.), A companion to Michael Haneke (pp. 53-74). (Wiley-Blackwell companions to film directors; No. 1). Oxford: Wiley-Blackwell. DOI: 10.1002/9781444320602.ch1  [details] 
  • Elsaesser, T. (2010). Pohjalla: Aki Kaurismäki ja abjekti subjekti. Lähikuva, 2010(2), 7-27. [details] 
  • Elsaesser, T. (2010). Sperimentando con la morte, nella vita: Fatih Akin e la svolta etica. Imago: studi di cinema e media, 2010(2), 109-124. [details] 
  • Elsaesser, T. (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  [details] 

2009

  • Elsaesser, T. (2009). 'Konstruktive Instabilität', oder: Das Leben der Dinge als Nachleben des Kinos? In S. Buchmann, H. Draxler, & S. Geene (Eds.), Film Avantgarde Biopolitik (pp. 86-119). (Schriften der Akademie der bildenden Künste Wien; No. 9). Wien: Schlebrügge. [details] 
  • Elsaesser, T. (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. [details] 
  • Elsaesser, T. (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 (pp. 19-34). (Film culture in transition). Amsterdam: Amsterdam University Press. [details] 
  • Elsaesser, T. (2009). Arresting the Moving Image [Review of: E. Røssaak (2008) Negotiating immobility: the moving image and the arts in Andy & Larry Wachowski's The matrix, Ken Jacobs's Tom, Tom, the piper's son and Bill Viola's The passions]. Norsk Medietidsskrift, 15(4), 73-78. [details] 
  • Elsaesser, T. (2009). Between Erlebnis and Erfahrung: cinema experience with Benjamin. Paragraph, 32(3), 292-312. DOI: 10.3366/E0264833409000625  [details] 
  • Elsaesser, T. (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. [details] 
  • Elsaesser, T. (2009). Ein halbes Jahrhundert im Zeichen Bazins. Montage/AV, 18(1), 11-31. [details] 
  • Elsaesser, T. (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. [details] 
  • Elsaesser, T. (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. [details] 
  • Elsaesser, T. (2009). Freud as Media Theorist: mystic writing pads and the matter of memory. Screen, 50(1), 100-113. DOI: 10.1093/screen/hjn078  [details] 
  • Elsaesser, T. (2009). Histoire palimpseste, mémoires obliques. À propos de 'Sterne' de Konrad Wolf. 1895. Revue d'Histoire du Cinéma, 58, 10-29. [details] 
  • Elsaesser, T. (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. [details] 
  • Elsaesser, T. (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. [details] 
  • Elsaesser, T. (2009). Ingmar Bergman in the museum? Thresholds, limits, conditions of possibility. Journal of Aesthetics & Culture, 1. DOI: 10.3402/jac.v1i0.2123  [details] 
  • Elsaesser, T. (2009). No end to 'Nosferatu' (1922). In N. Isenberg (Ed.), Weimar cinema: an essental guide to classic films of the era (pp. 79-94). (Film and culture series). New York, NY: Columbia University Press. [details] 
  • Elsaesser, T. (2009). Nowa Historia Filmu jako archeologia mediów. Kwartalnik Filmowy, 67-68, 8-41. [details] 
  • Elsaesser, T. (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. [details] 
  • Elsaesser, T. (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. [details] 
  • Elsaesser, T. (2009). Stepping sideways: SCMS Lifetime Membership address: March 6, 2008, Philadelphia, PA. Cinema Journal, 49(1), 121-127. DOI: 10.1353/cj.0.0159  [details] 
  • Elsaesser, T. (2009). Tales of epiphany and entropy: around the world in eighty clicks. In P. Snickars, & P. Vonderau (Eds.), The YouTube Reader (pp. 166-186, 494). (Mediehistoriskt arkiv; No. 12). Stockholm: National Library of Sweden. [details] 
  • Elsaesser, T. (2009). Tales of epiphany and entropy: paranarrative worlds on YouTube. In W. Buckland (Ed.), Film theory and contemporary Hollywood movies (pp. 150-171). (AFI film readers). New York, NY: Routledge. [details] 
  • Elsaesser, T. (2009). The mind-game film. In W. Buckland (Ed.), Puzzle films: complex storytelling in contemporary cinema (pp. 13-41). Chichester [etc.]: Wiley-Blackwell. [details] 
  • Elsaesser, T. (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. [details] 
  • Elsaesser, T. (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. [details] 
  • Elsaesser, T. (2009). Vergebliche Rettung: Geschichte als Palimpsest in 'Sterne'. Beiträge zur Film- und Fernsehwissenschaft, 63, 73-92. [details] 
  • Elsaesser, T. (2009). Vincente Minnelli. In J. McElhaney (Ed.), Vincente Minnelli: the art of entertainment (pp. 79-96). (Contemporary approaches to film and television series). Detroit, MI: Wayne State University Press. [details] 
  • Elsaesser, T. (2009). World cinema: realism, evidence, presence. In L. Nagib, & C. Mello (Eds.), Realism and the audiovisual media (pp. 3-19). Basingstoke: Palgrave Macmillan. DOI: 10.1057/9780230246973  [details] 
  • Elsaesser, T., & Hagener, M. (2009). Teoria del film: un' introduzione. (Piccola biblioteca Einaudi. Nuova serie; No. 445). Torino: Einaudi. [details] 
  • Elsaesser, T., & Wedel, M. (2009). Einblick von außen? Die DEFA, Konrad Wolf und die internationale Filmgeschichte. Beiträge zur Film- und Fernsehwissenschaft, 63, 29-56. [details] 

2008

  • Elsaesser, T. (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. [details] 
  • Elsaesser, T. (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 (pp. 86-97). (Quaderni del CSC). [Roma]: Centro Sperimentale di Cinematografia. [details] 
  • Elsaesser, T. (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. [details] 
  • Elsaesser, T. (2008). Antigone Agonistes: urbana gerila ili gerilski urbanizam? Frakcija crvene armije, Njemačka u jesen i Igra smrti. In S. Horvat (Ed.), Mai 68 (pp. 192-221). (Up & Underground art dossier; No. 13/14). Zagreb: Bijeli Val. [details] 
  • Elsaesser, T. (2008). Etnicita, autenticita a exil: falešný obchod? Němečtí filmoví tvůrci a Hollywood. Iluminace : časopis pro teorii, historii a estetiku filmu, 20(2), 35-57. [details] 
  • Elsaesser, T. (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.]. [details] 
  • Elsaesser, T. (2008). Ingmar Bergman im Museum? Grenzbereiche, Limiten, Möglichkeitsbedingungen. In In silent conversation with Ingmar Bergman: Kunstmuseum Thun (pp. 14-23). Basel: Christoph Merian Verlag. [details] 
  • Elsaesser, T. (2008). Ingmar Bergman in the Museum? Thresholds, Limits, Conditions of Possibility. Site, 24, 2-3. [details] 
  • Elsaesser, T. (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. [details] 
  • Elsaesser, T. (2008). Marathon man: the stubborn persistence of Alexander Kluge, German cinema's polymathic master strategist. Film Comment, 44(3), 52-64. [details] 
  • Elsaesser, T. (2008). Opowieści wściekłości i wrzasku: uwagi o rodzinnym melodramacie. Studia Filmoznawcze, 29, 11-39. [details] 
  • Elsaesser, T. (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  [details] 
  • Elsaesser, T. (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 (pp. 31-49). (Screen cultures: German film and the visual). Rochester, NY: Camden House. [details] 

2007

  • Elsaesser, T. (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. [details] 
  • Elsaesser, T. (2007). Casting Around: Hitchcock's Absence. In J. Grimonprez (Ed.), Looking for Alfred: The Hitchcocks Castings (pp. 139-161). Hatje Crantz. [details] 
  • Elsaesser, T. (2007). Cinephilia - Film Studies - Cultural Studies. Frame. [details] 
  • Elsaesser, T. (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. [details] 
  • Elsaesser, T. (2007). Kontingenz und Handlungsmacht im zeitgenössischen Kino. In I. Becker, M. Cuntz, & A. Kusser (Eds.), Unmenge: Wie verteilt sich Handlungsmacht? Paderborn: Fink. [details] 
  • Elsaesser, T. (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. [details] 
  • Elsaesser, T. (2007). Social Mobility and the Fantastic. In N. Samutina (Ed.), Fantastical Cinema (pp. 83-103). Moscow: New Literary Review. [details] 
  • Elsaesser, T. (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. [details] 
  • Elsaesser, T. (2007). Tears, Timing, Trauma: Film Melodrama as Cultural Memory. In E. Dagrada (Ed.), Il Melodramma Rome: Bulzoni Editore. [details] 
  • Elsaesser, T. (2007). Von der Filmwissenschaft zu den Cultural Studies und zurück: Der Fall Grossbritannien. Zeitschrift für Kulturwissenschaften. [details] 
  • Elsaesser, T., & Wedel, M. (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 (pp. 138-154). (Publications of the Institute of Germanic Studies; No. 91). München: Iudicium. [details] 

2006

  • Elsaesser, T. (2006). Antigone Agonistes; urbana gerila ili gerilski urbanizam? Prelom, 6/7, 153-186. [details] 
  • Elsaesser, T. (2006). Au Coeur de la pensée, une ame chargée de dynamite? In B. Benoliel, & D. M. Fleury (Eds.), Le cinema expressioniste allemand (pp. 40-51). Paris: Cinematheque francaise. [details] 
  • Elsaesser, T. (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. [details] 
  • Elsaesser, T. (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. [details] 
  • Elsaesser, T. (2006). Double occupancy: space, place and identity in European cinema of the 1990s. Third Text, 20(6), 647-658. DOI: 10.1080/09528820601068716  [details] 
  • Elsaesser, T. (2006). European Cinema: Legacy of East and West, Ethnicity and History. Monitor, VIII(2), 145-169. [details] 
  • Elsaesser, T. (2006). Fury. In M. Baute, & V. Pantenburg (Eds.), Night of the Hunter (pp. 271-271). (Minutentexte). Berlin: Brinkman + Bose. [details] 
  • Elsaesser, T. (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. [details] 
  • Elsaesser, T. (2006). Gewalt im Kino: das Regime der Brüder. In A. von der Heiden (Ed.), Ideologische Mechanismen der Gewalt (pp. 135-164). Weimar: VDG. [details] 
  • Elsaesser, T. (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. [details] 
  • Elsaesser, T. (2006). Social Mobility and the Fantastic (in Russisch). New Literary Review, 83-103. [details] 
  • Elsaesser, T. (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. [details] 
  • Elsaesser, T. (2006). Zu gross und zu nah: Alfred Hitchcock und Fritz Lang. In T. Koebner, & T. Meder (Eds.), Bildtheorie und Film (pp. 454-475). (edition text + kritik). Munich. [details] 

2010

  • Elsaesser, T. (2010). Tiefe des Raums und Angriff der Dinge, oder: Wenn der Schwanz mit dem Hund wedelt: zum digitalen 3-D-Kino. Film : das Kino-Magazin, 2010(1), 5-9. [details] 
  • Elsaesser, T., & Hagener, M. (2010). Film theory: an introduction through the senses. New York, NY: Routledge. [details] 

2009

  • Elsaesser, T. (2009). Hollywood heute: Geschichte, Gender und Nation im postklassischen Kino. (Deep focus; No. 1). Berlin: Bertz + Fischer. [details] 
  • Elsaesser, T. (2009). Real location, fantasy space, performative place: double occupancy and mutual interference in European cinema. In T. Trifanova (Ed.), European film theory (pp. 47-61). (AFI film readers). New York: Routledge. [details] 

2008

  • Elsaesser, T. (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. [details] 
  • Elsaesser, T. (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. [details] 
  • Elsaesser, T. (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. [details] 
  • Elsaesser, T. (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. [details] 
  • Elsaesser, T. (2008). Melodrama: Genre, Gefühl oder Weltanschauung? In M. Frölich, K. Gronenborn, & K. Visarius (Eds.), Das Gefühl der Gefühle: zum Kinomelodram (pp. 11-34). (Arnoldshainer Filmgespräche; No. 25). Marburg: Schüren. [details] 
  • Elsaesser, T. (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. [details] 

2007

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

2007

  • Elsaesser, T., & Hagener, M. (2007). Filmtheorie zur Einführung. (Zur Einführung; No. 321). Hamburg: Junius Verlag. [details] 
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