Publications

2011

• 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). Casting Around: Hitchcock's Absence. In J. Grimonprez (Ed.), It's a Poor Sort of Memory (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 Portait in Jacques Tourneurs Experiment Perilous. In H. Keazor & F. Liptay (Eds.), FilmKunst (pp. 223-236). Marburg: Schüren.
• T. Elsaesser (2011). Filmvermittlung zwischen Rückbezüglichkeit, Reflexivität und Remediaton: D3D und Avatar. In G. Sommer & V. Hediger (Eds.), Orte filmischen Wissens (pp. 239-254). Marburg: Schuren.
• T. Elsaesser (2011). Le mensonge de l'image est la vérité de notre monde: Les archéologies épistémologies et ontologies du cinema. In P. Beylot & I. Le Corff (Eds.), Les Images en question (pp. 17-34). Bordeaux: Presses Universitaires de Bordeaux.
• T. Elsaesser (2011). Hitting Bottom: Aki Kaurismäki and the Abject Subject. Journal of Scandinavian Cinema, 1(1), 105-121.
• T. Elsaesser (2011). Mellom, abstraksjon og stofflighet: lyd, kropp, stemme. Z, 56-72.
• T. Elsaesser (2011). James Cameron’s Avatar: access for all. New review of film and television studies, 9(3), 247-264.
• T. Elsaesser (). Politics, Multiculturalism and the Ethical Turn: The Cinema of Fatih Akin. In B. Hagen, S. Meiri, R. Yosef & A. Zanger (Eds.), Just Images: Ethics and the Cinematic (pp. 1-19). Newcastle: Cambridge Scholars.
• T. Elsaesser (2011). La Pelicula de Estratagema. Hueso Húmero.
• T. Elsaesser (2011). Freud and the Technical Media: The Enduring Magic of the Wunderblock. In E. Huhtamo & J. Parikka (Eds.), Media Archaeology (pp. 95-118). Berkeley: University of California.
• T. Elsaesser (2011). Vom Tod als Experiment im Leben: Fatih Akin und die 'Ethische Wende'. In T. Schick & T. Ebbrecht (Eds.), Kino in Bewegung (pp. 41-62). Wiesbaden: VS Verlag.
• T. Elsaesser (2011). Aus der Geschichte der Zukunft: Die Stadt von Morgen. In H. Barr (Ed.), Neues Wohnen 1929/2009 (pp. 14-26). Berlin: Jovis.

2010

• 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). Time, space and causality: Joe May, Fritz Lang and the modernism of German detective film. Modernist Cultures, 5(1), 79-105.
• 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). 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.

2009

• T. Elsaesser & M. Hagener (2009). Teoria del film: un' introduzione (Piccola biblioteca Einaudi. Nuova serie, 445). Torino: Einaudi.
• 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). 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.
• 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). 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). 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). 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). The mind-game film. In W. Buckland (Ed.), Puzzle films: complex storytelling in contemporary cinema (pp. 13-41). Chichester [etc.]: Wiley-Blackwell.
• 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). 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 (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). 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). 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). 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). 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). 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). Holocaust memory as the epistemology of forgetting? Re-wind and postponement in 'Respite'. In A. Ehman & K. Eshun (Eds.), Harun Farocki. Against what? Against whom? (pp. 51-56) Köln: König.
• T. Elsaesser (2009). Stepping sideways: SCMS Lifetime Membership address: March 6, 2008, Philadelphia, PA. Cinema Journal, 49(1), 121-127.
• T. Elsaesser (2009). Between Erlebnis and Erfahrung: cinema experience with Benjamin. Paragraph, 32(3), 292-312.
• T. Elsaesser (2009). Nowa Historia Filmu jako archeologia mediów. Kwartalnik Filmowy, 67-68, 8-41.

2008

• 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). '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). 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). 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.
• 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). History, media, memory - three discourses in dispute? In U. Ekman & F. Tygstrup (Eds.), Witness: memory, representation, and the media in question (Carsten Niebhur Institute publications) (pp. 393-413). Copenhagen: Museum Tusculanum [etc.].
• 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.
• 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). Marathon man: the stubborn persistence of Alexander Kluge, German cinema's polymathic master strategist. Film Comment, 44(3), 52-64.

2007

• 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). 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). Casting Around: Hitchcock's Absence. In J. Grimonprez (Ed.), Looking for Alfred: The Hitchcocks Castings (pp. 139-161). Hatje Crantz.
• T. Elsaesser (2007). Tears, Timing, Trauma: Film Melodrama as Cultural Memory. In E. Dagrada (Ed.), Il Melodramma. Rome: Bulzoni Editore.
• T. Elsaesser (2007). Von der Filmwissenschaft zu den Cultural Studies und zurück: Der Fall Grossbritannien. Zeitschrift für Kulturwissenschaften.
• T. Elsaesser (2007). Cinephilia - Film Studies - Cultural Studies. Frame.
• T. Elsaesser (2007). Kontingenz und Handlungsmacht im zeitgenössischen Kino. In I Becker, M. Cuntz & A. Kusser (Eds.), Unmenge: Wie verteilt sich Handlungsmacht? Paderborn: Fink.

2006

• T. Elsaesser (2006). European Cinema: Legacy of East and West, Ethnicity and History. Monitor, VIII(2), 145-169.
• T. Elsaesser (2006). La notion de genre et le film comme produit « semi-fini » : l’exemple de 'Weihnachtsglocken' de Franz Hofer (1914). 1895-Association francaise de recherche sur l'histoire du cinema, 50, 67-85.
• 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). 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). 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). Antigone Agonistes; urbana gerila ili gerilski urbanizam? Prelom, 6/7, 153-186.
• 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). 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). 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). Gewalt im Kino: das Regime der Brüder. In A. von der Heiden (Ed.), Ideologische Mechanismen der Gewalt. Weimar: VDG Verlag.
• 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). 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). Double occupancy: space, place and identity in European cinema of the 1990s. Third Text, 20(6), 647-658.

2010

• T. Elsaesser & M. Hagener (2010). Film theory: an introduction through the senses. New York, NY: Routledge.
• T. Elsaesser (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.

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). 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). 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.
• 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). 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.

2007

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

2008

• T. Elsaesser (2008). Ethical calculus: the cross-cultural dilemmas and moral burdens of Fatih Akin's 'The Edge of Heaven'. [Review of the book Auf der anderen Seite = The edge of heaven]. Film Comment, 44, 34-37.

2007

• T. Elsaesser (). Harun Farocki: Artist: Artist, Filmmaker, Media Theorist in: Harun Farocki. Seoul Film Festival brochure, pp. 6-25.