• John Gibbs, 2025 © original copyright holders.
    John Gibbs

    The video essay investigates the standing sets of the Universal Studios Backlot. The reuse and adaptation of such sets is a pragmatic reality of production but sometimes the relationships between spaces, through time and project, become suggestive or surprising in the meanings and experiences they produce. Drawing on films made or set in the 1950s, the video maps the artificial geography of a small town, encountering characters from different stories and genres, drawing out overlooked and uncanny links between films shot in the same or neighbouring spaces.

  • Tobias Ebbrecht-Hartmann
    Noga Stiassny
    Fabian Schmidt

    Mapping Multilayered Relations of a Migrating Image

    The migration of images related to the visual history of the Holocaust occurs all the time. Even as one reads these lines, Holocaust images are migrating. One such image is the Number Tattoo, which has already established itself as a common visual trope of Auschwitz, or more precisely, of the figure of the survivor.

  • Evelyn Kreutzer
    Noga Stiassny

    Traces, Gazes, and the Archival In-Between

    This multi-modal project, composed of the following paper and the video essay “The Archival In-Between,” reflects on the connection between the concepts of trace and gaze as analytical paradigms of dealing with the (visual) memory of the Holocaust.

  • PARIS, TEXAS, DVD Reverse Angle Library GmbH © original copyright holders.

    Evelyn Kreutzer

    Fantasies of America(na) in German-American Cinema

    This video essay explores and reflects on the American West in Wim Wenders’ PARIS, TEXAS (1984) and Percy Adlon’s BAGDAD CAFÉ (1987) from both a personal, and a scholarly perspective.