Elsaesser, T. (1998). Ethnicity, authenticity and exile: a counterfeit trade? In H. Naficy (Ed.), Home, exile, homeland : film, media, and the politics of place (pp. 97-124). (AFI film readers). Routledge.
Elsaesser, T. (1998). Early German cinema: case studies or recasting it all. In J. Fullerton (Ed.), Celebrating 1895: the centenary of cinema (pp. 337-340). Libbey.
Elsaesser, T. (1998). Sur Fritz Lang. Trafic, 26, 103-111.
Elsaesser, T. (1998). Le cinéma allemand: image et idée. In C. MacCabe (Ed.), De Fritz Lang à lars von Trier: cinémas d'Europe du Nord (pp. 11-43). BFI / Mille et une Nuit.
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.
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). 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., & Hoffmann, K. (1998). Cinema futures: Cain, Abel or cable? The screen arts in the digital age. (Film culture in transition). Amsterdam University Press.
Elsaesser, T. (1998). Augenweide am Auge des Maelstroms? Francis Ford Coppola inszeniert Bram Stoker's Dracula als den ewig jungen Mythos Hollywood. In A. Rost, & M. Sandbothe (Eds.), Die Filmgespenster der Postmoderne (pp. 63-105). Verlag der Autoren.