See also Pure, the research information system of the VU-University

‘The Creation of an Italian Star in Diaspora: Luciano Albertini’s early career in Germany (1921-1923)’, Immagine, 2022.
‘Immagini spettacolari: Cabiria di Pastrone e le illustrazioni del pittore francese Rochegrosse per Salammbô di Flaubert’, in: Céline Gailleurd ed., Il cinema muto italiano all incrocio delle arti  (Torino: Kaplan, 2022), pp. 137-160.

‘Images spectaculaires: Cabiria de Pastrone et les illustrations de Salammbô de Flaubert par le peintre Rochegrosse’, in: Céline Gailleurd ed., Le cinéma muet italien, à la croisée des arts  (Paris: Les Presses du Réel, 2022), pp. 162-191.

cover Grenzüberschreitende Licht-Spiele
‘Panorama, Academia, Archiv: Deutsch-niederländische Filmbeziehungen’, in: Schwenja Schiemann, Erika Wottrich eds., Grenzüberschreitende Licht-Spiele: Deutsch-Niederländische Filmbeziehungen (Hamburg/München: CineGraph/ edition text & kritik, 2021), pp. 11-25.
‘Histoire. Une nouvelle vie pour la peinture d’histoire française du xıxe siècle : Les Dernières Cartouches’, in: Dominique Païni ed., Enfin le cinéma! Arts, images et spectacles en France (1833-1907) (Paris: Musée d’Orsay, 2021), pp. 114-117.
‘Picturesque Pictures: Italian Early Non-Fiction within Modern Aesthetic Visions’, Acta Universitatis Sapientiae: Film & Media Studies , 19, 2021, pp. 49-65.


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Catalogue Kino, Krieg und Tulpen. Deutsch-niederländische Filmbeziehungen (Hamburg: Cinegraph, 2020). Editors Rommy Albers, Ivo Blom, Olaf Brill, Jörg Schöning. Personal articles:
‘Cinema, War and Tulips. German-Dutch Film Relations’, pp. 17-19. With Rommy Albers. Also German version ‘Kino, Krieg und Tulpen. Deutsch-niederländische Filmbeziehungen’, pp. 14-16.
‘Feuer, Schiffbruch und Folklore: Deutsche Stummfilme aus der Desmet-Sammlung’, pp. 22-23.
‘Zwischen Klischee und Realismus: Das Bild der Niederlanden im deutschen Kino’, pp. 28-29.
‘Auf fremder Leinwand: Niederländische Stars in Deutschland’, pp. 34-35.
‘Star-Visiten: Deutsche Stars besuchen die Niederlande, pp. 64-65.
‘Von Dollywood zum Oscar: Animationsfilm in den Niederlanden’, pp. 72-73.


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Reframing Luchino Visconti: Film and Art (Amsterdam/Leiden: CLUES/Sidestone Press, 2018). Monography, 318 pages. You can download the pdf of the book here (Open Access) or order the paper version on the editor’s website.
‘Der Unüberwindliche. Der italienische Sensationsdarsteller Luciano Albertini im Weimarer Kino’, Filmblatt, 66, Autumn 2018, pp. 17-33.
Review of Elisa Uffreduzzi, La danza nel cinema muto italiano (Canterano: Aracne, 2017), in: Nineteenth Century Theatre and Film, 1-5, 13 June 2018, pp. 1-5.
‘Luchino Visconti’s The Damned (1969): Origins, themes, style, and reception’, programme booklet stage play The Damned, director Ivo van Hove, Park Avenue Armory, 2018, pp. 4-5. Retaken for the booklet on the play at The Barbican, London, 2019.
‘Koelinga’s De Steeg: Palimpsest and Parallax Historiography’, in: Steven Jacobs, Eva Hielscher, Anthony Kinik eds., The City Symphony Phenomenon: Cinema, Art, and Urban Modernity Between the Wars (Routledge, AFI Film Readers, 2018), pp. 117-126.
‘Lyda Borelli dalla scena allo schermo/ Lyda Borelli from Stage to Screen’, reprint of 2013 text, booklet DVD box Dive! Lyda Borelli – Francesca Bertini (Cineteca di Bologna 2018), pp. 25-28, 31-34.
‘The Beauty of the Forzuti: Irresistible Male Bodies On and Off Screen’, in: Marina Dahlquist, Doron Galili, Jan Olsson, Valentine Robert (eds.), Corporeality in Early Cinema: Viscera, Skin, and Physical Form (Bloomington: Indiana University Press, 2018), pp. 146-155.

‘Unaffectedness and Rare Eurythmics: Carl Koch, Jean Renoir, Luchino Visconti and the Production of Tosca (1939/41)’, The Italianist. Film,37,  2, 2017, 149-175.
‘Muscoli e cervello. I film di Mario Guaita Ausonia tra avventura e crime story/Muscles and Brains: the Films of Mario Ausonia between Adventure and Crime’, in: Luca Mazzei and Paola Valentini eds., Giallo italiano: crime movie / occulto / conspiracy theory / gothic. Bianco e Nero, 587, 2017, pp. 18-29. With Micaela Veronesi.
‘Take Two: Lawrence Alma-Tadema and film’, Art Quarterly, Summer 2017, pp. 60-65.
‘Alma-Tadema e il Quo vadis? di Guazzoni’, in: Elisabetta Gagetti, Monika Wozniak eds.,  Quo vadis: la prima opera transmediale. Atti del convegno Roma 14-15 novembre 2016 (Rome: Accademia Polacca, 2017), pp. 99-116.



The Second Life of Alma-Tadema“, in Elizabeth Prettejohn, Peter Trippi eds., Lawrence Alma-Tadema: At Home in Antiquity (Leeuwarden/Munich/Zwolle: Fries Museum/Prestel/WBOOKS, 2016), 187–99. Also Dutch and German edition. Dutch version: ‘Het tweede leven van Alma-Tadema’s schilderijen’, in: Elizabeth Prettejohn, Peter Trippi eds., Alma-Tadema. Klassieke verleiding (Leeuwarden/Munich/Zwolle: Fries Museum/Prestel/WBOOKS, 2016), pp. 186-199. German edition: Das zweite Leben des Lawrence Alma-Tadema”, in: Elizabeth Prettejohn, Peter Trippi eds., Alma-Tadema: klassische Verführung (Leeuwarden/Munich/Zwolle: Fries Museum/Prestel/WBOOKS, 2016), pp. 186-199.
‘Terug naar de klassieken’, See All This, 3, Autumn 2016, 44-47.
Review of Martin Loiperdinger, Uli Jung (eds), Importing Asta Nielsen: The International Film Star in the Making 1910-1914 (New Barnet: John Libbey Publishing, 2013), in: Nineteenth Century Theater and Film, 42, May 2015, pp. 111-115.
‘Białe niewolnice i niemiecka „kultura”. Dystrybucja filmowa i strategie programowe Jeana Desmeta w Holandii w latach 1910–1914’, in: Andrzej Dębski, Martin Loiperdinger eds., KINtop – Antologia wczesnego kina (Wrocław: Oficyna Wydawnicza ATUT, 2016), Vol. I, pp. 269-310. Republication of article ‘Weiβe Sklavinnen und deutsche „Kultur“. Filmverleih und Programmstrategien von Jean Desmet in den Niederlanden 1910-1914’, KINtop 11, 2002, pp. 49-80.
‘Jan de Vaal en de Desmet-collectie’ (uploaded 12 June 2016).

General article ‘Italian Muscle in Germany’ and lemmata on individual films for the programme ‘Italian Muscle in Germany’, catalogue 34th Giornate del Cinema Muto, Pordenone, October 2015, p. 79-90. In collaboration with Stefan Drossler and Oliver Hanley.
‘Of Artists and Models. Italian Silent Cinema between Narrative Convention and Artistic Practice’, in: Ágnes Pethő ed., The Cinema of Sensations (Cambridge: Cambridge Scholars Publishing, 2015), pp. 121-136. [limited access to e-book version]



‘Angstaanjagend, modern en kunstzinnig. De filmaffiches in de Desmet-collectie’, in: Marente Bloemheuvel, Jaap Guldemond, Mark-Paul Meyer eds., Jean Desmets droomfabriek.De avontuurlijke jaren van de film (1907-1916) (Amsterdam/Rotterdam: EYE Filmmuseum/ nai010 uitgevers, 2014), pp. 97-106. Also edited in English: ‘Terrifying, modern, and artistic. The film posters in the Desmet collection’, in: Marente Bloemheuvel, Jaap Guldemond, Mark-Paul Meyer eds., Jean Desmet’ Dream Factory. The Adventurous Years of Film (1907-1916) (Amsterdam/Rotterdam: EYE Filmmuseum/ nai010 uitgevers, 2014), pp. 97-106
‘Diva Intermedial. Lyda Borelli between Art, Photography, Theatre and Cinema’, in: Kaveh Askari eds., Performing New Media, 1890-1915 (New Barnet: John Libbey, 2014), pp. 22-33.


‘Sangue Bleu e i film italiani della Collezione Desmet/Sangue Bleu and the Italian films in the Desmet Collection”, booklet DVD Sangue Bleu (Bologna: Cineteca di Bologna, 2014), pp. 12-13, 24-26.
‘Quo Vadis? From Painting to Cinema and Everything in Between’, in Richard Abel ed., Early Cinema: Critical Concepts in Media and Cultural Studies (New York: Routledge, 2014), volume III, pp. 9-22.
‘Morte a Venezia fra fotografia, pittura e cinema’, in: Francesco Bono, Luigi Cimmino, Giorgio Pangaro eds., Morte a Venezia (Cosenza: Rubbettino, 2013), pp. 129-148.


waanzin en emdia TMG 16 2012

‘Waanzin en media’. Special issue of TMG online 16, 1, 2013. Co-editor, with Bregt Lameris.
‘Inleiding. Waanzin en media’, TMG online, 16, 1, 2013, pp. 3-7. Co-author, with Bregt Lameris.
‘Of Artists and Models. Italian Silent Cinema between Narrative Convention and Artistic Practice’, Acta Universitatis Sapientiae: Film and Media Studies 7, 2013, pp. 97-110.
‘All the Same or Strategies of Difference: Early Italian Comedy in International Perspective‘, in: Giorgio Bertellini ed., Italian Silent Cinema. A Reader (New Barnet: John Libbey, 2013), pp. 171-184. Reworked republicaton of article published in 2001.
‘Where can I find Italian silent cinema?‘, in: Giorgio Bertellini ed., Italian Silent Cinema. A Reader (New Barnet: John Libbey, 2013), pp. 317-323.


‘Lyda Borelli. Dalla scena allo schermo/ From stage to screen’, booklet in DVD Ma l’amor mio non muore (Cineteca di Bologna 2013), pp. 5-8, 15-18.

‘The Impact of the Desmet Collection. Pordenone and Beyond’, Journal of Film Preservation, 87, October 2012, 35-50.
De wildwestjaren van de bioscoop. De nalatenschap van filmpionier Jean Desmet (1875-1956), Geschiedenis Magazine, 47, 1, January-February 2012, pp. 52-56.

‘”Mit nur einem Blick perfide sein”. Carl Koch, Jean Renoir, Luchino Visconti und Tosca, in: Francesco Bono, Johannes Roschlau eds., Tenöre, Touristen, Gastarbeiter. Deutsch-italienische Filmbeziehungen (München: edition text & kritik/Cinegraph, 2011), pp. 80-92.
Entries in catalogue Le Giornate del Cinema Muto. 30th Pordenone Silent Film Festival (2011), pp. 50-51, 57, 60-61, 65-70.
‘Terugblikken: Nederlandse non-fictiefilms van rond 1900 (II)’, TMG, 1, 2011, pp. 49-73.
‘Francesco Bono, Willi Forst. Ein filmkritisches Porträt (Munich: edition text&kritik, 2010)’, review in: TMG, 1, 2011, pp. 140-142.

‘Redactioneel’, with Bernadette Kester, TMG, 1, 2010, pp. 3-5. I co-edited this miscellanea issue with Kester.
‘Terugblikken. Nederlandse non-fictiefilms van rond de eeuwwisseling (I)’, TMG, 1, 2010, pp. 77-93.
‘Lyda Borelli e la nascita del glamour. Dal teatro, via pittura e fotografia, al cinema’, in: Silvia Sinisi, Isabella Innamorati & Marco Pistoia eds., Attraversamenti. L’attore nel Novecento e l’interazione fra le arti (Roma: Bulzoni, 2010), pp. 69-96.
‘Frame, space narrative. Doors, windows, and mobile framing in the work of Luchino Visconti’, in: Acta Universitatis Sapientiae: Film & Media Studies, 2, 2010, pp. 91-106.
‘Ongemakkelijke confrontaties. Spiegels bij Visconti’, Liber amicorum Egbert Barten 50, 2010, pp. 18-46.

‘North and South: two early texts about cinema-going by Louis Couperus’, Film History, 20, 2, 2008, pp. 127-132. Courtesy Film History/John Libbey.
‘Senso (1954) und die Maler der Arrière-garde’, in: Sophie Bertho, Bodo Plachta, Die Herkulesarbeiten der Philologie (Berlin: Weidler, 2008), 265-286.
‘”I am Attila.” Remembering Vittorio Martinelli’, in: Marco Pistoia, Paolo Speranza eds., Per Vittorio Martinelli. Spettatore innamorato, storico con passione (Atripalda: Mephite/Edizioni Laceno, 2008), pp. 33-35.

‘Infrastructure open system and the take-off phase. Jean Desmet as a case for early distribution in the Netherlands’, in: Frank Kessler, Nanna Verhoeff eds., Networks of Entertainment: Early Film Distribution 1895-1915 (Eastleigh: John Libbey, 2007), pp. 137-144.
‘Franse filmhaan debuteerde in de Kalverstraat. De eerste Amsterdamse Pathé-bioscoop’Ons Amsterdam 9, September 2007, pp. 340-343. With Stefan Stok. See also
‘Kunst en mode in Luchino Visconti’s film Senso’, Kunstlicht 28, 2/3, 2007, pp. 81-85.
‘The First Cameraman in Iceland. Travel Film and Travel Literature‘, in: Laraine Porter/ Briony Dixon (eds.), Picture Perfect. Landscape, Place and Travel in British Cinema before 1930 (Exeter: The Exeter Press 2007), pp. 68-81.


TMG 9, 2, 2006

Cinema in Context. Tijdschrift voor Mediageschiedenis 9, 2, 2006. Co-editor of this issue, with Wanda Strauven.
‘Cinema in context. Het einde van filmstudies?’, Cinema in Context. Tijdschrift voor Mediageschiedenis 9, 2, 2006, pp. 4-14. With Wanda Strauven.
‘Netherlands’, in: Barry Keith Grant ed., Schirmer Encyclopedia of Film (New York: Schirmer, 2006), pp. 231-234. With Paul van Yperen.
‘The Impact of the Desmet Collection at the “Giornate del Cinema Muto” and Beyond’, Immagine. Note di Storia del Cinema, 3th series, n. 10-11, January-August 2006, pp. 12-21. Special issue on 25 Years Giornate del Cinema Muto.
Visconti e le arti visive/ Visconti and Visual Arts (Milan: Olivares Edizioni, 2006). Courtesy Olivares Edizioni.
‘De Kus bij Hayez en Visconti. Schilderkunst, film en intermedialiteit’, Jong Holland 2, XXII, 2006, pp. 4-13.
‘Le illusioni de L’Innocente. Rinventare l’Ottocento’,, Italian translation of ‘De illusies van L’Innocente. De negentiende eeuw opnieuw uitgevonden’, Skrien 37, 5, June-July 2005, pp. 36-37. Translated by Ciro Schettino.

‘Luigi Pirandello nei Paesi Bassi’, festival review Pirandello festival Helmond, Carte di Cinema 17, 2005, p. 30.
‘Exkurs: Spionage und Propaganda im Ersten Weltkrieg. Das Beispiel Uli Jung, Martin Loiperdinger eds., Geschichte des Dokumentarischen Films in Deutschland. 1. Kaiserreich 1895-1918 (Stuttgart: Reclam/Haus des Dokumentarfilms, 2005), pp. 468-479.
‘Oorlogsfilms herontdekken tussen kerken en palazzi. 19e Cinema Ritrovato’
Skrien 37, 7, September 2005, pp. 6-7.
‘De illusies van L’Innocente. De negentiende eeuw opnieuw uitgevonden’, Skrien 37, 5, June-July 2005, pp. 36-37. Courtesy Skrien.
Entries on Jean Genet and the Maysles brothers, in: Gian Piero Brunetta ed., Dizionario dei registi, Vol. 2, (Einaudi), 2006.
Entries on Charles Dekeukeleire and Theo Frenkel, in: Gian Piero Brunetta ed., Dizionario dei registi, Vol. 1, (Einaudi), 2005.
Entries on European film distribution, Italy, the Netherlands (with Ansje van Beusekom), the film companies Ambrosio, Cines and Itala, and personalities in the Italian and Dutch film world, in: Richard Abel ed., Encyclopedia of Early Cinema (Oxford/New York: Routledge, 2005).
Verleiding in Technicolor‘, Skrien 37, 2, March 2005, pp. 52-53. With Paul van Yperen.


TMG 7, 2, 2004

Games. Tijdschrift voor Mediageschiedenis 7, 2, 2004. Co-editor of this number, with Connie Veugen. Authors: René Glas, Maaike Lauwaert, Joseph Wachelder, Johan van de Walle, David Nieborg, Connie Veugen, Angela Ndalianis, Joris Dormans.
‘Games:& geschiedenis: computerspellen, context en controverse’, Tijdschrift voor Mediageschiedenis 7, 2, 2004, pp. 5-8. With Connie Veugen.
‘Overladen programma in tropisch Bologna. 18de Il Cinema Ritrovato’Skrien, 8, October 2004, pp. 11-12.
‘De droom van Jean Desmet. Het nooit gebouwde Flora-Palace’Ons Amsterdam 9, September 2004, pp. 342-346. With Paul van Yperen. See also
“Duits gevaar voor onze theaters.” Het Rembrandt-Theater in de periode 1919-1933′, Ons Amsterdam 2, February 2004, pp. 52-56. See also
‘What is in a name? Pathé and the Netherlands as envisioned in the Pathé-Desmet relationship’,  in: Michel Marie, Laurent Le Forestier (eds.), La firme Pathé Frères 1896-1914 (Paris: AFRHC, 2004), pp. 95-106.
‘Propaganda en spionage in de Nederlandse filmwereld tijdens de Eerste Wereldoorlog. “Von Stimmungen lasst er sich nicht forteissen”‘, in: n.n., Opgediept Verleden V. Lezingen Western Front Association Nederland 1999-2002 (s.l.: Western Front Association 2004), pp. 204-215.



Jean Desmet and the Early Dutch Film Trade (Amsterdam: Amsterdam University Press, 2003). Monograph, 472 pages.
‘Eine Reise um die Welt vor 90 Jahren, or The Travelling Showman Revisited’KINtop 12, 2003, pp. 150-164.
‘All the Same or Strategies of Difference. Early Italian Comedy in International Perspective‘, in: Anna Antonini ed., Il film e i suoi multipli/Film and Its Multiples (Udine: Forum, 2003), pp. 465-480.
‘Dutch Flames and Flickers’, in: Roger Smither, Catherine A. Surowiec eds., This Film is Dangerous. A Celebration of Nitrate Film (Brussel: FIAF, 2003), pp. 478-481.

‘Von Künstler und Touristen. Die ‘Verortung’ Hollands in zwei frühen deutschen Filmen’, in: Thomas Elsaesser, Michael Wedel (eds.), Kino der Kaiserzeit. Zwischen Tradition und Moderne (München: edition text + kritik, 2002), pp. 348-364.
‘In memoriam: Geoffrey Donaldson’GBG-Nieuwsbrief 5, 3, October 2002, pp. 2-3.
‘Weisse Sklavin und deutsche Kultur. Filmverleih und Programmstrategien von Jean Desmet in den Niederlanden’KINtop 11, 2002, pp. 49-80.


Gerome, 12

Gerome and Quo vadis. Picturale invloeden in de film’Jong Holland, 4, XVII, 2001, pp. 19-28.
Review of Martin Loiperdinger, Film und Schokolade. Stollwercks Geschäfte mit lebenden Bildern (1999), Tijdschrift voor Mediageschiedenis 1, 4, 2001, pp. 162-163.
‘Quo vadis? From Painting to Cinema and Everything in Between‘, in: Leonardo Quaresima, Laura Vichi (eds.), La decima musa. Il cinema e le altre arti/ The Tenth Muse. Cinema and other arts (Udine: Forum, 2001), p. 281 – 296.
‘Projects and abstracts. Breaking New Ground: Jean Desmet and the Early Dutch Film Trade and Cinema Exhibition (1907-1916). PhD Thesis Summary’, Cinéma & Cie, 1, Autumn 2001, pp. 141-143.
‘Business as usual? Filmhandel, bioscoopwezen en filmpropaganda in Nederland tijdens de Eerste Wereldoorlog’, in: Hans Binneveld, Martin Kraaijestein, Marja Roholl, Paul Schulten eds., Leven naast de catastrofe. Nederland tijdens de Eerste Wereldoorlog (Hilversum: Verloren, 2001), pp. 129-43.
‘Obituaries: Jan de Vaal’Film History, vol. 13, 4, 2001, p. 443.


Pionierswerk cover

Dissertation: Pionierswerk. Jean Desmet en de vroege Nederlandse filmhandel en bioscoopexploitatie (1907-1916) (Amsterdam: Universiteit van Amsterdam, 2000). Monograph, 393 pages.
‘In memoriam: Nico Brederoo’, De Filmkrant, October 2000, 215.
“Travelogues” italiani: un genere da riscoprire’, in: Michele Canosa (ed.), A nuova luce. Cinema muto italiano I/ Italian Silent Cinema I (Bologna: Clueb, 2000), pp. 63 – 73.

‘Un’ occhiata da più vicino. Riconsiderare il cinema italiano delle origini/ Take a Closer Look! Italian early cinema reconsidered’Fotogenia 4/5, 1999, p. 45-58, 287-293.
Chapters from the Life of a Camera Operator. The recollections of Anton Nöggerath – filming news and non fiction, 1897-1908‘, Film History, vol. 11, 3, 1999, p. 262-281. Courtesy Film History/John Libbey.

‘Das gestische Repertoire. Zur Körpersprache von Lyda Borelli’KINtop 7, 1998, p. 69-83.
‘Un tesoro nascosto. I film Ambrosio nella collezione Desmet’, in: Paolo Bertetto, Gianni Rondolino (eds.), Cabiria e il suo tempo, 2 (Torino: Museo nazionale del cinema/Il Castoro, 1998), p. 117-125.

‘Tegen smaakbedervende en zedenkwetsende films. Witte Bioscoop, een katholieke familie-bioscoop‘, Ons Amsterdam 3, March 1997, p. 58-62. With Paul van Yperen. See also
De eerste filmgigant in Nederland. De snelle verovering van Nederland door Pathé, Jaarboek Mediageschiedenis 8, 1997, p. 129-152.


A Second Life

Of Artists and Tourists. Locating Holland in Two Early German Films‘, in: Thomas Elsaesser, Michael Wedel (eds.), A Second Life: German Cinema’s First Decades (Amsterdam: Amsterdam University Press, 1996), p. 246-255.
‘Gribiche’ & ‘Ballet Mécanique’, Cahiers du muet 16 & 22 (Brussels: Cinémathèque Royale, 1996).
‘De filmwereld van Jean Desmet en de opkomst van filmdistributie in Nederland (1907- 1921)’Boekmancahier 30, December 1996, p. 521-523.
‘Il primo cinema tedesco nella collezione Desmet’, Nuovo Cinecritica 2/3, April-September 1996, p. 129-133.
“Ladies and gentlemen, hats off, please!” Dutch Film Lecturing and the Case of Cor SchuringIris 22, Autumn 1996, p. 81-102. With Ine van Dooren.

‘Filmpioniers: Pathé en Messter. Honderd jaar film tentoongesteld’Skrien 202, June/July 1995, p. 78-79.
‘L’artère nord-sud. Jean Desmet, distributeur hollando-belge, et la Belgique’, in: Jacques Polet (ed.), Les premiers temps du cinéma en Belgique. Revue belge du cinéma 38/39, March 1995, p. 25-28.
‘”Comme l’eau qui coule”. Les films de rivières de Gaumont dans la collection Desmet’, in: Images du réel. La non-fiction en France (1890-1930), 1895, 18, 1995, p. 157-164.
‘Jean Desmet, distributeur et collectioneur’, in: Philippe Dubois, Edouard Arnoldy (eds.),  Ça tourne depuis cents ans. Une histoire du cinéma francophone de Belgique (Bruxelles: Communauté française de Belgique [1995]), p. 23.
‘A Tray Full of Trouble’, review Le Giornate del Cinema Muto, Pordenone, 1994, Iris 19, Autumn 1995, p. 161-165.
Review of Jacques Kermabon ed., Pathé, premier empire du cinéma (1994), Skrien 201, April-May 1995, p. 75.

Versies van Hollandia’s bronsgroen eikehout. Limburg in beeld (Hollandia 1918/1919)’, GBG-Nieuws 29, Summer 1994, pp. 55-58.
‘Filmvertrieb in Europa. Jean Desmet und die Messter-Film GmbH’KINtop 3, 1994, p. 73-91.
‘Film en de Eerste Wereldoorlog in Nederland’, in: Sjoerd Brouwer (ed.), November 1918. Einde van een oorlog, einde van een tijdperk (Utrecht: Studium Generale, 1994), pp. 115-129.
Review of Richard Abel, The Ciné Goes to Town: French Cinema 1896-1914 (1994), Skrien 198, October/November 1994, pp. 79-80.

‘Labor Vincit. ‘De Zaanstreek’ van Theo Güsten (1927)’, programme Zaanse films. Eerste Week van de Zaanse film, 1993, pp. 4-9.
En toen was er kleur…’De restauratie van de film De Zaanstreek van Theo Güsten’, GBG-Nieuws 27, Winter 1993-1994, pp. 47-50.
Een Nederlandse Griffith? ‘, GBG-Nieuws 26, Fall 1993, pp. 30-32.
‘La lunga vicenda del cinema italiano in Olanda’, in: Vittorio Martinelli (ed.), Cinema italiano in Europa 1907-1929 ( Roma: Associazione italiana di storia del cinema, 1993), p. 47-74.
‘Nederlands Filmmuseum. La collection Desmet’, Cinémathèque 3, 1993, p. 96-99.
La vita cinematografica. Jean Desmet en de distributie en vertoning van de Italiaanse zwijgende film in Nederland‘,  Jaarboek Mediageschiedenis 5, 1993, p. 39-64.
‘Le règne éphémère de la Nordisk. Le cinéma danois des années dix’, in: Conférences du Collège d’Histoire de l’Art Cinématographique 3. ‘Le Théâtre dans le Cinéma’ (Paris: Cinémathèque française, 1992-1993), p. 41-55.

‘Il Fuoco or the Fatal Portrait: The XIXth Century in the Italian Silent Cinema’Iris 14-15, Autumn 1992, p. 55-66.
‘Jean Desmet en de Films-Erneuerung-Gesellschaft. Filmdistributie tijdens de Eerste Wereldoorlog‘ , GBG-Nieuws 21, Summer 1992, pp. 34-36.
Geef de rolmops eens door!‘, GBG-Nieuws 23, Winter 1992, pp. 19-21.
‘Luchino Visconti’, Lantaren/Venster 2, March 1992, pp. 14-15.
‘Luchino Visconti (1906-1976)’, program retrospective Luchino Visconti, STUC/De Andere Film, Leuven, 1992

Rapsodia satanica‘ & ‘Malombra‘, in: Emmanuelle Toulet, Christian Belaygue (eds.), catalogue CinéMémoire I (Paris: CinéMémoire, 1991), p. 55-56, 109-110.
‘Jean Desmet, distributore dei primi film italiani’, in: Sperduti nel buio. Il cinema muto italiano e il suo tempo 1905-1930 (Bologna: Cappelli, 1991), p. 140-158.
‘Een historische schets van de filmkritiek in Nederland’, in: Peter Bosma (ed.), course book Filmkunde (Heerlen: Open Universiteit, 1991), p.100-132. Co-author, with Paul van Yperen.
‘Van dameshoeden en nummerborden. Identificatie van oude films’, Film 1, February 1991, pp. 29-31.

‘Un capitolo ancora da scrivere della storia del cinema’, Cineteca VI, n. 8-9, November-December 1990, pp. 5-6.


Hartstocht en heldendom
Hartstocht en heldendom: de vroege Italiaanse speelfilm 1905-1945 (Amsterdam: Stichting Mecano,1988). Co-editor, with Nelly Voorhuis, and co-author of preface, 6-9.
Review of Marcia Landy, Fascism in Film – The Italian Commercial Cinema, 1931-1943 (1986), Skrien 162, October-November 1988, p. 62.

Review of Laurence Schifano, Luchino Visconti – Les feux de la passion (1987), Skrien 156, November-December 1987, p. 61.

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