Elsaesser, T. (1999). The Dandy in Hitchcock. In S. Ishii-Gonzales, & R. Allen (Eds.), Alfred Hitchcock Centenary Essays (pp. 3-14). British Film Institute.
Elsaesser, T. (1999). Antigone Agonistes: Urban Guerilla or Guerilla Urbanism? The RAF, Germany in Autumn and Deathgame. In J. Copjec, & M. Sorkin (Eds.), Giving Ground (pp. 267-302). Verso.
Elsaesser, T. (1999). Heavy Traffic: La Mitteleuropa va in America. In G. P. Brunetta (Ed.), Storia del cinema mondiale: L'Europa (pp. 595-615). Einaudi.
Elsaesser, T. (1999). Presenting Stanley Cavell. In E. Kingma et al. (Ed.), ASCA Yearbook (pp. 107-115). ASCA.
Elsaesser, T. (1998). Fantasy Island: dream logic as production logic. In T. Elsaesser, & K. Hoffmann (Eds.), Cinema futures: Cain, Abel or cable? The screen arts in the digital age (pp. 143-158). (Film culture in transition). Amsterdam University Press.
Elsaesser, T. (1998). Convergence, divergence, difference. In T. Elsaesser, & K. Hoffmann (Eds.), Cinema futures: Cain, Abel or cable? The screen arts in the digital age (pp. 9-26). (Film culture in transition). Amsterdam University Press.
Elsaesser, T. (1998). Digital cinema: delivery event, time. In T. Elsaesser, & K. Hoffmann (Eds.), Cinema futures: Cain, Abel or cable? : the screen arts in the digital age (pp. 201-222). (Film culture in transition). Amsterdam University Press.
Elsaesser, T. (1998). Specularity and Engulfment: Francis Ford Coppola and Bram Stoker's Dracula. In M. Smith, & S. Neale (Eds.), Contemporary Hollywood Cinema (pp. 191-208). Routledge.
Elsaesser, T. (1998). Mit diesen Bildern hat es angefangen: Harun Farocki. In R. Aurich, & U. Kriest (Eds.), Der Ärger mit den Bildern (pp. 111-144). UVK Medien.
Elsaesser, T. (1998). American friends: Hollywood echoes in new German Cinema. In G. Nowell-Smith, & S. Ricci (Eds.), Hollywood and Europe: economics, culture, national identity, 1945-95 (pp. 142-155). British Film Institute Publishing.