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Results: 475
Number of items: 475
  • Elsaesser, T. (1993). Fassbinder, fascism and the film industry: Lili Marleen. In J. Schmidt-Sasse (Ed.), Widergänger (pp. 268-285). MAkS.
  • Elsaesser, T. (1993). Portrait of the artist as a young woman: Leni Riefenstahl. Sight and Sound, 3(march), 17-20.
  • Elsaesser, T. (1993). Film studies in search of the object. Film criticism, 17(2/3), 40-47.
  • Elsaesser, T. (1993). TV through the looking glass. In N. Browne (Ed.), American television: new directions in history and theory (pp. 97-120). (Studies in film and video; No. 2). Harwood.
  • Elsaesser, T. (1993). Leni Riefenstahl: the body beautiful, art cinema and fascist aesthetics. In P. Cook, & P. Dodd (Eds.), Women and film: a sight and sound reader (pp. 186-197). (Sight and sound). Scarlet Press.
  • Elsaesser, T. (1993). La Ufa. In G. Spagnoletti (Ed.), Schermi germanici: Ufa 1917-1933 (pp. 11-25). Marsilio.
  • Elsaesser, T. (1993). Hyper-, retro-, or counter-: European cinema and third cinema between Hollywood and art cinema. In L. Friedmann (Ed.), Fires were started: British cinema and Thatcherism (pp. 52-69). Minnesota University Press.
  • Elsaesser, T. (1993). Images for sale. In L. Friedmann (Ed.), Fires were started: British cinema and Thatcherism (pp. 52-69). Minnesota University Press.
  • Elsaesser, T. (1993). Author, actor, showman: Reinhold Schünzel's Hallo Caesar. In R. Dyer, & G. Vincendeau (Eds.), Fires were started: British cinema and Thatcherism (pp. 72-86). Routledge.
  • Elsaesser, T. (1993). Dimendicando Fassbinder? In G. Spagnoletti (Ed.), Raioner Werner Fassbinder (pp. 46-55). Carte Segrete.
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