Thomas Elsaesser and Film Studies

Altman, R. (1984). A Semantic/Syntactic Approach to Film Genre. “Cinema Journal” Vol. 23, No3.

Elsaesser, T. (1965). Jean Luc Godard, ”Sussex Outlook”. No. 4 (November).

Elsaesser, T. (1966). Luis Buñuel, ”Sussex Outlook”. No. 7 (February).

Elsaesser, T. (1969). King Vidor, ”Brighton Film Review”. No. 7 (April).

Elsaesser, T. (1969A). Jean Renoir, ”Brighton Film Review”. No. 9 (June).

Elsaesser, T. (1969B). Vincente Minelli, ”Brighton Film Review”, No. 15.

Elsaesser, T. (1970). Vincente Minelli 2, ”Brighton Film Review”. No. 18.

Elsaesser, T. (1970B). Nicholas Ray, ”Brighton Film Review”. No. 19 (April), No. 20 (May).

Elsaesser, T. (1971). Why Hollywood?. ”Monogram”. No. 1.

Elsaesser, T. (1972). Tales of Sound and Fury: The Family Melodrama. ”Monogram”, No. 4.

Elsaesser, T. (1975). The Pathos of Failure: The Unmotivated Hero. ”Monogram”, No. 6.

Gledhill, Ch. (1987). Home Is Where the Heart Is. Studies in Melodrama and the Woman’s Film. London: British Film Institute.

Elsaesser, T. (1989). New German Cinema: A History. Basingstoke: Macmillan and Rutgers University Press.

Elsaesser, T. (1996). Fassbinder’s Germany: History Identity Subject. Amsterdam: Amsterdam University Press.

Elsaesser, T., Hoffmann K. (1998). Cinema Futures: Cain, Abel or Cable?. Amsterdam: Amsterdam University Press.

Elsaesser, T. ed. (1999), The BFI Companion to German Cinema. London: British Film Institute.

Elsaesser, T. (2000). Weimar Cinema and After. London: Routledge.

Elsaesser, T. (2001). Metropolis. London: British Film Institute.

Elsaesser, T. (hrsg) (2002). Kino der Kaiserzeit. Münich.

Elsaesser, T. , Buckland, W. (2002B). Studying Contemporary American Film: A Guide to Movie Analysis. New York: Oxford University Press.

Elsaesser, T. ed. (2004). Harun Farocki: Working on the Sight-lines. Amsterdam: Amsterdam University Press.

Elsaesser, T. Simons, J. eds. (2004B). Writing for the Medium: Television in Transition. Amsterdam: Amsterdam University Press.

Elsaesser, T. (2005). European Cinema: Face to Face with Hollywood. Amsterdam: Amsterdam University Press.

Elsaesser, T. (2005B). Zu spät, zu früh: körper, Zeit und Aktionsraum in der Kino- Erfahrung, in: Kinogefühle. hrsg. Vn M.Thohler, Vol. Heidiger, Schüren. Marburg: Schüren.

Elsaesser, T. (2009). The Mind-Game Films, in: W. Buckland. ed. Puzzle Films. Oxford: Wiley Blackwell.

Elsaesser, T. (2009A). Nowa Historia – Conceptual Concept. “Kwartalnik Filmowy”, No. 67–69.

Elsaesser, T. (2009B). Stepping Sideways. SCMS Lifetime Membership Award. ”Cinema Journal”.

Elsaesser, T. (2009C). Hollywood Heute: Geschichte, Gender und Nation. Berlin: Bertz + Fischer.

Elsaesser, T., Hagener, M. (2010). Film Theory: An Introduction Through the Senses. New York: Routledge.

Elsaesser, T.(2010). Performative Self-Contradictions in Michael Haneke’s Mind Games, in: A Companion to Michael Haneke, (ed.) R. Grundmann. Oxford: Wiley Blackwell.

Elsaesser, T. (2011). The Persistence of Hollywood, Routledge, New York.

Elsaesser, T. (2011B). Access for All: “Avatar” and Hollywood’s Global Public. “New Review of Film and Television Studies, Vol. 9, Issue 3.

Elsaesser, T. (2013). Terror and Trauma: German Cinema after 1945. New York: Routledge.

Elsaesser, T., Hagener, M. (2015). Teoria filmu: wprowadzenie przez zmysły. przeł. K. Wojnowski, Kraków: Universitas.

Elsaesser, T. (2014). Actions Have Consequences: David Lynchs LA Trilogie. Augenblick 2014, H.59.

Elsaesser, T. (2014B). Philip K. Dick, the Mind-Game Film, and Retroactive Causality, in: Hollywood Puzzle Films. W. Buckland ed., New York: Routledge.

Elsaesser, T. (2016). Film History as Media Archaeology. Amsterdam: Amsterdam University Press.

Elsaesser, T. (2016B). Zero Dark Thirty, in: Zrzahlungen und Gegenerzahlungen: Terror und Krieg im Kino des 21. Jahrhunderts, hrsg. von J. Schuf, M. Seel. Frankfurt: Campus.

Elsaesser, T. (2017). Cinema and Game Spaces: Contingency as Our New Causality, in: Clash of Realities, G.S. Freyermuth, L. Gotto eds., transcript, Bielefeld.

Elsaesser, T. (2018). European Cinema and Continental Philosophy: Film as Thought Experiment. New York/London: Bloomsbury.

Elsaesser, T. (2018B). Contingency, Causality, Complexity: Distributed Agency in The Mind-Game Film, “New Review of Film and Television Studies”, Vol 16, Issue 1.

Hendrykowski, M. (2015). Methodology of the New History of the Film. “Images: The International Journal of European Film, Performing Arts and Audiovisual Communication”, Vol. 17, No. 26.

Thomas Elsaesser provided this humorous interpretation during his lecture delivered at the University of Gdańsk on 15th October, 2017.