| Issue | Title | |
| No 5 (2017): Mise en geste. Studies of Gesture in Cinema and Art | Tomislav Šakić: Modernizam u hrvatskom igranom filmu | Abstract HTML |
| Edward Alexander | ||
| No 2-3 (2016): Ghetto Films and their Afterlife | Topografie terezínských filmů (1942-1944/5) | Abstract HTML (Čeština) |
| Tomáš Fedorovič | ||
| No 4 (2017) | Toward Poetics of Authenticity. The Hope Factory and the New Wave of Russian Women Filmmakers. A Conversation with Natalia Meshchaninova | Abstract HTML |
| Oksana Chefranova | ||
| No 1 (2015) | Tukums kino hronikās | Abstract Tukums kino hronikās HTML Tukums kino hronikās PDF |
| Viktorija Eksta | ||
| No 9 (2019) | Valerii Podoroga: Vopros o veshchi | Abstract HTML |
| Tyler Benjamin Adkins | ||
| Doing Performance Art History. Perspectives of Actors and Observers (2020) | VHS as a Medium of Subculture | Abstract HTML |
| Marina Gržinič | ||
| Doing Performance Art History. Perspectives of Actors and Observers (2020) | Video Poiesis | Abstract HTML |
| Sabine Hänsgen | ||
| Doing Performance Art History. Perspectives of Actors and Observers (2020) | Vigil | Abstract HTML |
| Tibor Hajas | ||
| No 7 (2018): Women Cutting Movies: Editors from East and Central Europe | Virginás, Andrea (ed.): Cultural Studies Approaches in the Study of Eastern European Cinema: Spaces, Bodies, Memories. | Abstract HTML |
| Andrea Pócsik | ||
| No 6 (2018): Women at the Editing Table: Revising Soviet Film History of the 1920s and 1930s | Vlad Strukov and Helena Goscilo (eds.): Russian Aviation, Space Flight, and Visual Culture | Abstract HTML (Deutsch) |
| Alexander Schwarz | ||
| No 11 (2020): Yugoslav Performance Art: On the Deferred Production of Knowledge | Was Dancing Possible During the Fascist Occupation of Yugoslavia? | Abstract HTML |
| Gal Kirn | ||
| No 2-3 (2016): Ghetto Films and their Afterlife | Welcome to Panorama Theresienstadt. Cinematography and Destruction in the Town Called “As If” (Reading H. G. Adler) | Abstract HTML |
| Irina Sandomirskaja | ||
| No 7 (2018): Women Cutting Movies: Editors from East and Central Europe | When Women Call the Cuts: the Marina Razbezhkina School of Documentary Film | Abstract HTML |
| Daria Shembel | ||
| Doing Performance Art History. Perspectives of Actors and Observers (2020) | Work, 2008–2010 | Abstract HTML |
| Ion Grigorescu | ||
| No 1 (2015) | XIX festival' arkhivnogo kino Belye Stolby | Abstract Re: XIX фестиваль архивного кино (Русский) PDF (Русский) |
| Georgii Borodin | ||
| No 2-3 (2016): Ghetto Films and their Afterlife | XV Mezhdunarodnyi festival’ dokumental’nogo kino Flaertiana | Abstract HTML (Русский) |
| Elena Chetina | ||
| No 11 (2020): Yugoslav Performance Art: On the Deferred Production of Knowledge | Yugoslav Performance Art: On the Deferred Production of Knowledge | Abstract HTML |
| Goran Pavlić | ||
| No 9 (2019) | “Art is Energy, Art is Power”: An Interview with Józef Robakowski | Abstract HTML |
| Michael N. Goddard | ||
| No 2-3 (2016): Ghetto Films and their Afterlife | “Madagascar, Nisko, Theresienstadt, Auschwitz.” On the Visibility of Sites in Claude Lanzmann’s The Last of the Unjust (2013) | Abstract HTML |
| Gertrud Koch | ||
| No 2-3 (2016): Ghetto Films and their Afterlife | “The Second Life” of the Theresienstadt Films after the Second World War | Abstract HTML |
| Eva Strusková | ||
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Apparatus. ISSN 2365-7758