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| Cinema in a State of Emergency | |
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| The Three Machines that Make Up Cinema | |
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| Machine Number 1 | |
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| Machine Number 2: The Paying Public | |
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| Machine Number 3: "Penny Arcades" | |
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| The Journey to Budapest | |
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| What Can You Get In this World for One Cent? | |
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| Rem Koolhaas on "Blind Happiness" | |
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| Originally Film Was a Scientific Instrument/The Inflation of Fictional Themes | |
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| Triumph of the Arriflex/The Return of a Scientifically Oriented Application | |
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| Sun Over the Waterways of the Lido The Cinema In the Head of the Spectator | |
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| Hunger for Horror Or, A Tendency to Be Direct | |
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| To Bring the World Into the World | |
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| Many Spirits Feed on the Body of a Dead Star | |
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| The Battle of the Marne | |
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| Between Duty and Inclination | |
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| The Aura of the Remarkable | |
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| The Notorious Man | |
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| Gigolo | |
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| The Portrayal of a "Dragon" In Silent Film | |
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| The Blind Director | |
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| Do Not Forget Me | |
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| How We Cameramen Became Patriots, Simply Because We Were Efficient | |
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| Parade of New Year's Eve in Paris, 1918: How We Learned Too Late How to Capture a Subjective Impression on Film | |
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| Documentation through Posthumous Production | |
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| An Observation of Walter Benjamin | |
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| The Filming of "Added Value" : A Plan of Eisenstein and of Dziga Vertov's Brother | |
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| As a National Socialist In Hollywood | |
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| Fourteen Ways to Describe Rain | |
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| A Week of Rain with Joris Ivens | |
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| Rain in the Country | |
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| The Illusion of Never-Ending Rain | |
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| Concentrated Rain in Hurricanes | |
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| Scattered Showers | |
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| Catastrophes of the Ultimate Class | |
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| For the Time Being Only the Fish Seemed to Have Disappeared | |
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| A Cloudburst that Came as a Stroke of Luck | |
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| The Economy of Water | |
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| The Final Film Screening in the Reich Chancellery | |
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| His Last Deployment | |
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| An Example of the "Cinema of Ingredients" During the 1950s | |
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| The Robust Deployment of Film Techniques by Fellini | |
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| Nobody Wants to Sit in Complete Darkness in Front of a Television | |
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| Television Lamps of 1955 as a "Transitional Medium" | |
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| Great Cinema, Vanished as If Aborted | |
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| At the Nexus of Film History and Television | |
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| Cold Shower | |
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| Filming the Atmosphere of Advent | |
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| The Ploger Delicatessen as the Replacement Target of a Demonstration | |
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| On the Death of Bourgeois Achievements | |
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| A Natural Gift | |
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| The Revival of Film History from Tashkent | |
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| Evolutionary Diversity | |
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| Filming In Africa | |
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| Friesenhahn's Act | |
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| The Cosmos as Cinema | |