Issues

November 2018
Coverbild Issue 1 The Long Path to Audio-visual History

The first issue of the journal Research in Film and History is based on the edited volume Film und Geschichte and Film als Forschungsmethode, published in 2015 and 2018 by Bertz + Fischer (in German). Prior to their publication in the journal, the articles were carefully reviewed and in some cases substantially revised. They are intended to serve as a catalyst for further debate, new research approaches, and critical discussion of existing interdisciplinary research into film and history.

November 2019

The second issue of the journal Research in Film and History explores current research, debates, and projects at the intersection between the disciplines of film studies and history. The articles are based on the research by a group of leading international scholars who presented and discussed their recent theories and projects at the Research in Film and History conference in Bremen in November 2018. The conference affirmed that the debates addressed in Issue 1: The Long Path to Audio-Visual History remain highly relevant to current research at the intersection between film and history. Issue 2 follows seamlessly on from issue 1, and can in many ways be seen as a version 2.0.

January 2021

Julian Elbers © original copyright holders.

The interdisciplinary refiguration indicates self-reflective challenging of the epistemological and methodological foundations of both film studies and history. The variety of directions that emerged from the versatile encounters between history and audiovisual media goes far beyond the discussions of the hierarchical relation of audiovisual materials to textual sources, questions of historical accuracy or objectivity.

November 2021

Andrey Tarkovsky approached filmmaking as “sculpting in time,” which means that film can “capture time.” In the recorded form, as a final product, a film leaves traces that can be preserved, reproduced, recontextualized, as well as forgotten and lost. Along this line of thought, these audiovisual traces acquire both temporal and spatial dimensions, material and mnemonic capacities. In this regard, e.g. archival footage filmed in the German Democratic Republic and reused or recontextualized in the German post-reunification cinema can be approached as audiovisual traces.