Image Migration and Selective Appropriation

An Unfinished Propaganda Film of the Warsaw Ghetto, 1942

Unpacking the Memory of Reinhard Wiener’s Private Film from Liepaja (1941)

Examining the Production and Initial Reception of Eva Braun’s Private Films

A Multi-perspective Evaluation

Bromberg 1939

On the Way to an Archaeological Biography of an Iconic Film

April 1 Anti-Jewish Boycott as a Visual Backdrop for Communicating Multiple Perspectives

Official and Ephemeral Film Documents on the Persecution and Extermination of the European Jews 1933-1945

The Cases of Kremenets and Vyshnivets (July 1944)

Ethics of Sharing Holocaust Images

A Close Reading of the 1943 Krasnodar Trial Records

Testimonial Works, Viewer’s Perception, and Uses in Political Propaganda

Tracing Soviet Liberation Footage

Approaches to a Critical History in Film Images

Methodological Reflections on Historical Research and Amateur Films

Materiality – Visuality – Performativity

The Riches of a Film Archive, 1945–1970

Images and Narratives of Camp Liberation in Historical Footage and Feature Films

The British Documentary Film Movement of the 1930s

On the Appropriation of Surveillance Footage in YOU DON’T LIKE THE TRUTH

Documentary Film and Mass Participation in the Age of YouTube

Memory and Gender in Soviet Estonian Home Movies and Amateur Films. A Case Study of the Estonian TV Series 8 MM LIFE (2014–2015)

The New Materialities of Memory

Agricultural Film and the Pedagogy of Consulting in 1950s and 1960s Austria

From the Cinefication of Schools to the Film Lesson

School Cinema and Reform Pedagogy

Wartime Economy, Educational Animation, and Film’s Plasticity

The Vienna Urania and the Cultural Film

Film Documents of Contemporary History and Educational Practice, circa 1970

Approaches to Home Movies from East Germany

Traces, Gazes, and the Archival In-Between

Anachronisms and Reflexivity in ILUMINADOS POR EL FUEGO

Walter Benjamin and Archival Film Practices

Voice-Overs and Modelling History

Harun Farocki’s RESPITE

Historical Film and the Embodied Viewer

On CALIGARI, Kracauer and New Film History

On the Desire for Presence in Historical Documentaries

An Empirical Study of the Link between Film Perception and Historical Consciousness

The Staatliche Filmdokumentation at the German Democratic Republic Film Archive

On the Playful Construction of History in THE THREE BURIALS OF MELQUIADES ESTRADA

The End of the Chilean Military Dictatorship in Pablo Larraín's Feature Film NO!

The Experience and Analysis of Historical Images on Television

Re-archiving Film Historiography in PHOENIX (Christian Petzold, 2014)

Audiovisual Traces, Reenactment, and Remediation in CINE MARROCOS (BR 2018)

Toward a New Type of Biography

Preserving and Curating Audiovisual Traces of LGBTIQ+ Self-Documentation in Austria and Beyond

The Traces of History in FLAT TYRE

Problematising Historical Reconstruction