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      Naked Bodies and Troubled Souls: Antonioni and the Ways of the Flesh

      Thomas Elsaesser
      February 2009
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      Thomas Austin
      May 2022
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      Emmalea Russo
      May 2022
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      Caitlin Wilson
      May 2022
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      Vedant Srinivas
      May 2022
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      Peter Verstraten
      May 2022
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      Alfio Leotta & Missy Molloy
      May 2022
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      Thomas Elsaesser
      October 2019
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      Savina Petkova
      May 2022
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      Victor Paz
      May 2022
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      Madeleine Collier
      May 2022
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      Nolan Kelly
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      Brigitta Wagner
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      Thomas Elsaesser
      February 2009
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      Sanya Osha
      May 2022
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      Darragh O’Donoghue
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      Jeremy Carr
      January 2022
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      Charles Fairbanks
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      Dan Golding
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      Thomas Elsaesser
      May 2022
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      Joy McEntee
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      Mark Lager
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      Jessica Balanzategui
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      The 14th Singapore International Film Festival - A Report

      Thomas Elsaesser
      June 2001
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      Madeleine Collier
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      Tara Judah
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      Tara Judah
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      Anuj Malhotra
      May 2022
    • Film Goes On (?): The 23rd Jeonju International Film Festival

      Marc Raymond
      May 2022
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      Ricardo Vieira Lisboa
      May 2022
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      The Obsolescence of Poetics: Film History as Media Archaeology: Tracking Digital Cinema by Thomas Elsaesser

      Thomas Elsaesser
      December 2017
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      Kyle Barrowman
      May 2022
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      Tony McKibbin
      January 2022
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      Elroy Rosenberg
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      Steven Shaviro
      July 2021
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      Adrian Schober
      July 2021
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      Megan Carrigy
      July 2021
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      Nostalghia

      Thomas Elsaesser
      July 2001
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      Wheeler Winston Dixon
      May 2022
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      Tiia Kelly
      May 2022
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      Danica van de Velde
      May 2022
    • Il Deserto Rosso (Red Desert, Michelangelo Antonioni, 1964)

      Boyd van Hoeij
      May 2022
    • ‘You Can’t Make an Omelette…’ – Modesty Blaise (Joseph Losey, 1966) and the Art of Breaking Eggs

      David Melville
      May 2022
    • Fritz Lang’s Spione (1928)

      Shari Kizirian
      May 2022
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Author Thomas Elsaesser

Thomas Elsaesser

Thomas Elsaesser is Professor Emeritus of Cinema Studies at Amsterdam University and since 2013 Visiting Professor at Columbia University.

The Loop of Belatedness: Cinema After Film in the Contemporary Art Gallery

Thomas Elsaesser
March 2018
Cinema and the Museum
In this essay, an earlier version of which was given as the Daphne Mayo Lecture at the University of Queensland on October 8, 2014, Thomas Elsaesser examines the increasingly strategic role played by art spaces...
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Paul Wegener: Frühe Moderne im Film by Heide Schönemann

Thomas Elsaesser
April 2005
Book Reviews
This review was originally published in Cinema & Cie, no. 5, Fall 2004, 54–56. It has always been axiomatic – and not only thanks to Lotte Eisner's The Haunted Screen – that Expressionism is the typicall...
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Introduction: Harun Farocki

Thomas Elsaesser
July 2002
Harun Farocki
Overview and discussion of long-time German-based filmmaker and artist, Farocki, who has emerged to occupy a unique place in film history.
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Mirror, Muse, Medusa: Experiment Perilous

Thomas Elsaesser
December 2001
Film and the Other Arts
An examination into the relations between cinema, painting, the painted portrait, and 'woman'.

Established in Melbourne (Australia) in 1999, Senses of Cinema is one of the first online film journals of its kind and has set the standard for professional, high quality film-related content on the Internet.

Senses of Cinema was founded on stolen lands. We acknowledge the sovereignty of the Wurundjeri and Boon Wurrung people of the Kulin nation and support all Aboriginal people on their paths to self-determination.

 

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César Albarrán-Torres • Amanda Barbour • Tara Judah • Abel Muñoz-Hénonin • Fiona Villella

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