Elsaesser, T. (2003). Komplexität und Textur in der Filmgeschichte: Hommage an Noël Burch. KINtop, 12, 49-64.
Elsaesser, T. (2003). Weimar cinema, mobile selves and the anxious male. In D. Scheunemann (Ed.), Expressionist film: new perspectives (pp. 33-71). Camden House.
Elsaesser, T. (2003). Technical constraints or political compliance: documentary styles of the 1920s and 1930s in an international context. In P. Zimmermann, & K. Hoffmann (Eds.), Der Triumph der Bilder: Kultur- und Dokumentarfilme vor 1945 (pp. 121-143). KVK Verlag.
Elsaesser, T. (2003). Back to the Beginnings: A Look Ahead. Film Language, 118-135.
Elsaesser, T. (2002). History, memory identity and the moving image: one train may be hiding another. In L. Belau, & P. Ramadanovic (Eds.), Topologies of trauma (pp. 61-72). Other Press.
Elsaesser, T., & Buckland, W. (2002). Studying Contemporary American Film. Arnold/Oxford University Press.
Elsaesser, T. (2002). Going Live: Körper und Stimme im frühen Tonfilm. In G. Krenn, & A. Loacker (Eds.), Zauber der Boheme (pp. 271-298). Filmarchiv Austria.
Elsaesser, T. (2002). The Blockbuster: Everything Connects, but not Anything goes. In J. Lewis (Ed.), The End of Cinema - as we know it (pp. 11-22). New York University Press.
Elsaesser, T. (2002). Der Blockbuster als Zeitcontainer. In R. Hensel (Ed.), Lab - Goodbye, Dear Pigeons (pp. 310-323). Walter König.
Elsaesser, T., & Hagener, M. (2002). Walter Ruttmann. In Das Jahr 1929: Beiträge zur Archäologie der Medien (pp. 316-349). Suhrkamp.