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April 2018
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May 2018
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June 2018
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July 2018
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Summer Term 2018


vergangene Veranstaltungen einblenden

RINGVORLESUNG

Gegen die Wand

Gegen die Wand: Eröffnungsvortrag

Mon, 4/9 2.00 pm – 4.00 pm

Dr. Alexandra Tacke

Loction
Europa-Universität Viadrina Kulturwissenschafftliche Fakultät
Room: GD Hs 8
Große Scharrnstraße 59
15230 Frankfurt (Oder)
Tel.: +49-(0)335-5534 2732 Email: Tacke@europa-uni.de

GUEST LECTURE

Digging the Infra: Excursions into Technosex, Containment and Knowledge Economies

Thu, 4/12 4.00 pm – 7.00 pm

Zoe Sofoulis, Western University Sydney

Location
ZeM – Brandenburgisches Zentrum für Medienwissenschaften
Hermann-Elflein-Straße 18
14467 Potsdam

LECTURE SERIES

Gegen die Wand

Die Wand als Bühne: Zur Performanz der Schlagschatten in Tanz, Performance und Installation

Mon, 4/16 2.00 pm – 4.00 pm

Mariama Diagne

Location
Europa-Universität Viadrina Kulturwissenschafftliche Fakultät
Room: GD Hs 8
Große Scharrnstraße 59
15230 Frankfurt (Oder)
Tel.: +49-(0)335-5534 2732 Email: Tacke@europa-uni.de



FILM DISCUSSION

Film lesen

Präsentation von Apparatus und "Strogyj junoša" (Abram Room, 1936)

Wed, 4/18 7.00 pm

Dr. Natascha Drubek/Irina Schulzki

Location
Filmmuseum Potsdam
Marstall, Breite Straße 1a
14467 Potsdam


Die Reihe "Film lesen" lädt viermal im Jahr Gäste ins Kino des Filmmuseums ein, die in jüngst erschienenen Büchern oder Zeitschriften über Filme geschrieben haben: über spannende Menschen und Themen aus Film- und Kinogeschichte, über Neuentdeckungen und neue Zugänge zu verschiedensten Aspekten der Filmkunst.
Nach einem kurzen Gespräch mit den Autor*innen folgt dann ein Film, dem in der Publikation besondere Aufmerksamkeit gewidmet wird.

Zum Anfang der Reihe steht das digitale Journal Apparatus im Fokus, dessen neueste Ausgabe sich der Geste im Film widmet.
Danach wird der Film "Strogyj junoša" (Der strenge Jüngling) des russischen Regisseurs Abram Room aus dem Jahr 1936 gezeigt.

Gäste

Dr. Natascha Drubek (Filmwissenschaftlerin)
Irina Schulzki (Filmwissenschaftlerin)

Moderation

Prof. Dr. Ursula von Keitz (Filmmuseum Potsdam/Filmuniversität Babelsberg KONRAD WOLF)


DEBATE

in medias res

Meinungsfreiheit und Medienpraxis – Die Lage in der Türkei

Thu, 4/19 6.00 pm – 7.30 pm

Location
Stadt- und Landesbibliothek
im Bildungsforum Potsdam
EG Veranstaltungssaal
Am Kanal 47
14467 Potsdam


Admission is free


Wie wirkt sich die aktuelle politische Situation in der Türkei auf künstlerische und gesellschaftliche Freiheiten, insbesondere im Film und in anderen Medien aus? Welche Formen des Widerstandes haben sich entwickelt und wie werden soziale Netzwerke und Crowd-Funding-Projekte dabei genutzt? Diese und weitere Fragen sind Thema dieses Abends und laden zum Austausch zwischen Publikum und Gästen aus der Türkei ein.
Eingeladen sind die Filmwissenschaftlerin Dr. Özgur Çiçek und die Medienwissenschaftlerin Dr. Özlem Savaş, die derzeit Stipendiatinnen des Brandenburgischen Zentrums für Medienwissenschaften (ZeM) sind. Mit diesem Stipendium können die beiden Forscherinnen ihre wissenschaftliche Arbeit in Deutschland fortsetzen. Ein weiterer Gast ist Bülent Mumay, der ehemalige Chefredakteur der Online-Ausgabe der Hürriyet und Autor der “Briefe aus Istanbul”, die regelmäßig in der Frankfurter Allgemeinen Zeitung erscheinen. Moderiert wird die Veranstaltung von der vielfach ausgezeichneten Regisseurin Ayşe Polat.

Sprache: Türkisch mit deutscher Übersetzung

Der Eintritt ist frei!


Gäste

Dr. Özgur Çiçek (Filmwissenschaftlerin, ZeM)
Dr. Özlem Savaş (Medienwissenschaftlerin, ZeM)
Bülent Mumay (Journalist FAZ)

Moderation

Ayşe Polat (Regisseurin)

Organisation

Dr. Adelheid Heftberger (ZeM)
Franziska Schubert (ZeM)


LECTURE SERIES

Gegen die Wand

Mit der Wand verschmolzen. Strategien der Ent/Subjektivierung in Francesca Woodmans Fotografien

Mon, 4/23 2.00 pm – 4.00 pm

Andrej Mirčev

Location
Europa-Universität Viadrina Kulturwissenschafftliche Fakultät
Room: GD Hs 8
Große Scharrnstraße 59
15230 Frankfurt (Oder)
Tel.: +49-(0)335-5534 2732 Email: Tacke@europa-uni.de



COLLOQUIUM

Research Colloquium

Fri, 4/27 10.30 am – 1.00 pm

Özlem Savas, Judith Dobler

Location
ZeM – Brandenburgisches Zentrum für Medienwissenschaften
Hermann-Elflein-Straße 18
14467 Potsdam



This research colloquium for media studies gives postgraduates and scholars the opportunity to present and discuss their current doctorate and research projects within a collegial environment.

LEITUNG
Direktorium des ZeM
KOORDINATION
Dr. Adelheid Heftberger, ZeM


Digital spaces of intimacy, affinity, and affective politics of new migrants from Turkey
Dr. Özlem Savaş

This talk addresses how new migrants from Turkey create digital spaces of intimacy and affinity that serve as networked localities of diasporic solidarity and affective politics. Due to recent increase in political repression and turmoil in Turkey, a growing number of people – mostly intellectuals, academics, journalist, artists, and students - are leaving Turkey. Although these new migrants are settling around the globe, most are going to Europe, especially Germany. New migrants from Turkey have established various websites, blogs, and online groups to provide solidarity and collaboration and to establish social and political collectivities. I would suggest that these digital media platforms serve as spaces of intimacy and affinity, not only because they are imbued with profound feelings of solidarity, hope, fear, anger, despair, anxiety, overwhelm and impasse, but also because these collective, public, and political feelings are deliberately or unintentionally registered as the basis of the existing and possible collectivities and actions. My ongoing ethnographic research focuses on new migrants’ affective investment in digital media and its outcomes for diasporic solidarity and politics. In this talk, I will engage in a series of questions at the intersection of digital media, migration, feelings, and politics. How can collective, public, and political feelings archived in and circulated by digital media form the basis of the existing and possible collectivities and actions? How are digital localities produced, inhabited, and networked through intimacy and affinity emerging from the common experience of particular social, political, and historical circumstances? What kind of new political possibilities, horizons, and subjectivities emerge from the diasporic solidarity and affective politics that play through these digital localities and their networked connectivity that expands across digital and physical spaces?

Spüren. Beobachten. Entfalten – Zeichnen und Forschen in einem experimentalphysikalischen Labor
Judith Dobler

Im Anwendungslabor für experimentelle Röntgenphysik, dem „Berlin Laboratory for innovative X-ray Technologies“ der Technischen Universität, kurz BLiX, wird viel gezeichnet. Auf schwarze und weiße Tafeln, auf Papier, in Notiz- und Laborbücher, an Wände, auf Tischen, im Sitzen, im Stehen, allein und kollaborativ. Die Zeichnungen werden im Labor und in den Arbeitsräumen sichtbar – ihre Herstellung jedoch entzieht sich dem oberflächlichen Blick und in die Öffentlichkeit dringen diese Bilder zumeist nicht.
Für die Dissertation dient eine ethnografische Feldstudie in besagtem Labor als Grundlage für Fragestellungen zu analogen Medien in hochtechnischen Umgebungen, den Entwurfsverfahren in der (natur-)wissenschaftlichen Forschung sowie zu kollaborativen Wissensformen. Hierzu werden methodische Verfahren aus dem Labor herausgegriffen und auf eine medienwissenschaftlich-ästhetische Fragestellung experimentell angewendet. Die Methoden beinhalten sensorische Aufzeichnungsinstrumente, Dokumentations- und Speichermedien von Daten, sowie die für Analyseprozesse notwendigen Bild- und Textformate der wissenschaftlichen Erkenntnis.
Für den Vortrag im Kolloquium wähle ich drei methodische Verfahren, die aus ethnografischer und historischer Perspektive die Verschränkung von Kunst und Wissenschaft als bildgebender Handlung im Labor thematisieren: Durch „Spüren“ wird der Zugang im Labor mithilfe des optischen Instruments „Camera Lucida“ zeichnerisch erfasst. Im „Beobachten“ kann die wissenschaftliche Arbeit anhand von Notationsverfahren in „Laborbüchern“ aufgezeichnet werden. Das „Entfalten“ von gewonnenen Daten in der Analyse- und Interpretationsphase wird schließlich in Form von diagrammatischer Modellierung und visueller Theoriebildung nachgezeichnet.

Personen
Dr. Özlem Savaş is a media studies scholar with research interests in digital culture, social media, media ethnography, affective politics, and migration and diaspora. After she obtained her Dr. Phil. degree from the University of Applied Arts Vienna in 2008, she started working as Assistant Professor in the Department of Communication and Design at Bilkent University, Ankara, Turkey. Her ethnographic doctoral research explored diasporic practices of belonging within the aesthetics and the politics of the everyday. Recently, she carried out an ethnographic research project on practices of self and lifestyle on social media in Turkey. She published journal articles and book chapters on affective citizenship practices on social media, visual culture in political Islam, and diasporic aesthetics and politics of the everyday. She taught across a range of undergraduate and graduate courses in media studies and cultural studies, supervised MA dissertations, and hold administrative roles.

Judith Dobler (MA) studierte Design und Designtheorie in Potsdam, Rio de Janeiro und Basel. Seit 2014 forscht sie zum kollaborativen Skizzieren am Institut für Künste und Medien der Universität Potsdam. Bis 2017 war sie Mitglied im DFG-Graduiertenkolleg „Sichtbarkeit und Sichtbarmachung. Hybride Formen des Bildwissens“ an der Universität Potsdam. Neben ihrer langjährigen Berufspraxis als Designerin hält sie Vorträge, unterrichtet an Hochschulen, veranstaltet Workshops und publiziert im In- und Ausland. Sie lebt und arbeitet in Berlin. Ihre Forschungsthemen umfassen Episteme der Zeichnung, kollaborative Entwurfspraktiken, verkörperte Wissenspraktiken, sowie Diagrammatik und Text-Bildverhältnisse.


WORKSHOP

Postinternet vs. Postdigital

Wed, 5/2 4.00 pm – 7.00 pm

Marisa Olson

Location
ZeM – Brandenburgisches Zentrum für Medienwissenschaften
Hermann-Elflein-Straße 18
14467 Potsdam


Contakt
Prof. Dr. Judith Ackermann
pkkb@fh-potsdam.de


The terms #postinternet and #postdigital try to grasp recent transformations in the ways we live, think and interact. While learning machines densify, simplify and x-ray our life, the discourse tries to examine the trajectories of these developments and their significances for contemporary culture and future subjectivities. Do we learn from the machine, or does the machine learn from us?

On May 2nd the project PKKB (‘Postdigitale Kunstpraktiken in der Kulturellen Bildung’ / Postdigital Art Practices in Cultural Education’) invites to the workshop ‘Postinternet vs. Postdigital’ to ZeM in the center of Potsdam. NYC based artist Marisa OIson will give a talk about her work, her new project WellWellWell, as well as her personal perspective on the ‘postinternet’ within the arts. In a following panel talk Judith Ackermann, Marie-Luise Angerer, Jan Distelmeyer, Kristin Klein, Magdalena Kovarik, Marisa Olson, Anne Quirynen and Hanne Seitz will discuss about what that means for our society as well as the role of artists, scientists and theorists within it.

The event will held in English, questions and feedback in German are welcome.
When: 2nd May 2018, 4–7 p.m.
Where: Brandenburgisches Zentrum für Medienwissenschaften (ZeM), Hermann-Elflein-Straße 18, 14467 Potsdam
Contact: Prof. Dr. Judith Ackermann, pkkb@fh-potsdam.de"


WORKSHOP

Computer-based Approaches for the Analysis of Film Style

5/3 – 4 9.30 am – 6.30 pm

Location
ZeM – Brandenburgisches Zentrum für Medienwissenschaften
Hermann-Elflein-Straße 18
14467 Potsdam



Due to the high demand there are unfortunately no more places available.


With his idea of distant reading, Franco Moretti suggests a quantitative approach for literary studies that makes use of computer-based methods to identify complex patterns and hidden relationships in texts. One of the most popular approaches to implement distant reading is called stylometry. It is based on the assumption that authors have characteristic stylistic preferences when it comes to writing a text. These preferences may be expressed in terms of individual vocabulary or the frequent - and oftentimes unconscious - use of common function words, such as articles or conjunctions. By calculating the frequencies of individual word usage in different texts, a stylistic fingerprint of a text can be obtained. Texts may then be classified stylistically by means of their individual fingerprint. One popular application of stylometry is automatic authorship attribution for texts with unknown authorship by calculating their stylistic distance to other texts, where the authors are known.

In the workshop, we would like to explore how these quantitative stylometric approaches that are used in literary studies, can be transferred and extened to the analysis of film style. This also involves a critical reflection on the meaning and usage of the term style in the context of film studies as well as a discussion about its formalization to facilitate the automated computer-supported analysis of film style. One of the main challenges in adapting stylometric procedures from literary studies to the analysis of film can be found in the identification of quantifiable parameters. In literary studies, stylometry operates on word frequencies. In film studies, we find a plethora of other - technical as well as aesthetic - factors that influence film style, e.g. shot lengths and frequencies, angle and size of shots, techniques for connecting shots and scenes (e.g. cross fading), manipulation of time (e.g. slow motion and time lapse), motion and direction of movement (camera- and object motion), color usage and contrasts, frequently occurring persons, objects, audiovisual motifs language use and dialogic structure.

With this transdisciplinary workshop, we would like to bring together scholars from different fields such as film studies, literary studies, linguistics and computer science. We expect participants to contribute to the workshop by presenting their ideas and experiences on the analysis of style and to discuss chances and limitations of quantitative and computer-based approaches for the analysis of film.

Confirmed workshop speakers (in alphabetical order):
Jun.-Prof. Dr. Jan-Hendrik Bakels, Free University Berlin
Jun.-Prof. Dr. Manuel Burghardt, University of Leipzig
Prof. Dr. Ralph Ewerth, Leader of the Research Group Visual Analytics, TIB Hannover
Prof. Dr. Barbara Flückiger, University of Zurich
Prof. Dr. Peter Grzybek, University of Graz
Prof. Dr. Malte Hagener, University of Marburg
Dr. Adelheid Heftberger, Brandenburg Center for Media Studies
Christian Hentschel, Hasso-Plattner-Institute, Potsdam
Dr. Dietmar Kammerer, University of Marburg
Prof. Dr. Daria Khitrova, Harvard University
Dr. Sebastian Möring, University of Potsdam
Dr. Christian Gosvig Olesen, University of Amsterdam
Dr. Johannes Pause, Université du Luxembourg
Prof. Dr. Yuri Tsivian, University of Chicago
Prof. Dr. Chris Wahl, Film University Babelsberg KONRAD WOLF
Niels-Oliver Walkowski, Berlin-Brandenburg Academy of Sciences and Humanities
Prof. Dr. Mark Williams, Dartmouth University
Dr. Matthias Zeppelzauer, University of Applied Sciences, Sankt Pölten


Workshop organized by:
Adelheid Heftberger, Manuel Burghardt, Johannes Pause, Niels-Oliver Walkowski and Matthias Zeppelzauer


Participation:
If you are interested in participating, please send an Email to a.heftberger@zem-brandenburg.de until April 15, 2018. We will ask for a small compensation for catering costs (20 Euros) at the workshop.


WORKSHOP

The film heritage Festival "Il Cinema Ritrovato" on Tour

Wed, 5/9 2.30 pm – 11.00 pm

Guy Borlée, Bologna

Workshop
Wednesday 09.05., 14:30 Uhr
WIS im Bildungsforum
Am Kanal 47
14467 Potsdam


Film screening
Mittwoch 09.05., 19:00 Uhr
Filmmuseum Potsdam
Breite Str. 1A
14467 Potsdam


Promoted by the Cineteca di Bologna and the Mostra Internazionale del Cinema Libero, every summer the festival Il Cinema Ritrovato offers the opportunity to watch more than 500 films from the most different decades and places of film heritage. The festival is often called the “cinéphiles’ heaven” by a vast community of people involved in studying and protecting this film heritage. It has become a well-established event for archivists, restorers, historians, movie fans and film professionals in general, bringing over 3,500 guests from fifty-six countries. Last year’s screenings were attended by more than 100,000 spectators. One of the main reasons for its success is undoubtedly the ten open-air evening screenings in Piazza Maggiore where an audience of almost 4,000 people can watch films on the big screen. Guests included important personalities such as Bernardo Bertolucci, Dario Argento, Nanni Moretti, Marco Bellocchio, and many others.

The lecture held by Guy Borlée will analyse the 31 year history and all the steps of the festival organization, from the search for the best film prints around the world, the film selection process and the festival’s sections to the instruments to handle 500 films in all analogue and digital formats. Furthermore it will include he subtitling systems, the online database, the catalogue production, the photo research, the communication strategies, the budgeting, the musical events, the national distribution called Il Cinema Ritrovato al Cinema and the project Cinema Ritrovato on Tour, the organization of exhibitions, the book and DVD publishing, ... Everything you always wanted to know about film festivals, but were afraid to ask!

At the evening of 9.5. the Filmmusum Potsdam will show a small selection of the festival’s films, specially selected and introduced by Guy Borlée.
The programme will show films from the 1910s in an order loosely inspired by a cinema’s usual programme structure of these years.
For further information: http://www.filmmuseum-potsdam.de/index.php?id=95aca19a0aa615ad5073001d907f4db1&year=2018&month=5

Since 1995, Guy Borlée is coordinator of the international festival Il Cinema Ritrovato. He is specialised in research of the best film sources at the international level, in the management of a large production team, the creation of musical accompaniment for silent films, the organisation of international conferences and the economic management of events.
Since 1995 he is also the coordinator of the summer programming Sotto le Stelle del Cinema (Under the stars of cinema), presenting film classics open-air on a huge screen on Bologna’s central square Piazza Maggiore.
Guy Borlée has presented the festival in many Universities recently among others Paris 8, Mainz, Loyola Marymount, Brown, Bari, Venezia and Bristol.
Admission to the workshop ist free. Because of limited seating we ask for registration. The talk will be held in english.

Organisation: Birgit Acar (Filmmuseum Potsdam) & Esther Riese (Student M.A. film heritage, Filmuniversität Babelsberg)



LECTURE AND FILM

Von REVOLUTION IM TON zu MOBILISIERUNG DER TRÄUME

Thu, 5/17 1.00 pm – 11.00 pm

Martin Reinhart

Location
Lecture (1–5pm)
Filmuniversität Babelsberg KONRAD WOLF (Room 2017)
Marlene-Dietrich-Allee 11
14482 Potsdam


FILM SCREENINGS (from 7pm)
Filmmuseum Potsdam
Breite Strasse 1A
14467 Potsdam




CONFERENCE

Spürtechniken. Von der Wahrnehmung der Natur zur Natur als Medium – Tagung

5/24 – 25 9.30 am – 8.00 pm

Location
ZeM – Brandenburgisches Zentrum für Medienwissenschaften
Hermann-Elflein-Straße 18
14467 Potsdam



Europäische Medienwissenschaft, Universität Potsdam in Kooperation mit der Medienkulturwissenschaft, Albert-Ludwigs-Universität Freiburg

Organisatorinnen

Desiree Förster (Universität Potsdam)
Birgit Schneider (Universität Potsdam)
Evi Zemanek (Albert-Ludwigs-Universität Freiburg)

Mit Beiträgen von:

Urs Büttner, Ludwig Fischer, Verena Friedrich, Naomi Gramlich, Christiane Heibach, Rüdiger John, Verena Kuni, Maximilian Linsenmeier, Verena Meis, Thomas Metten, Agnes Meyer-Brandis, Myriel Milicevic, Maria Morata, Martin Siegler, Yvonne Volkart.

Außerdem findet im Rahmen des Programms statt:

1. ZeM Spring-Lecture: N. Katherine Hayles: "Are Sensing Technologies Cognitive? Making the Case"

Der Begriff der Natur wurde und wird disziplinübergreifend neu diskutiert, kritisiert und stellenweise abgeschafft. „Nach der Natur“ hieß 2010 ein Essay von Ursula Heise, der die Frage des Artensterbens in einem wissenschaftlichen, politischen und kulturellen Zusammenhang diskutierte; in „Ökologie ohne Natur: Eine neue Sicht der Umwelt“ argumentiert Timothy Morton, dass unser Bild von der Natur einen angemesseneren Umgang mit unserer Umwelt verhindert; dem gegenüber steht eine Bewegung, die versucht, Natur als das Elementare wieder einzufangen, für die beispielhaft John Durham Peters stehen mag, der 2015 eine Philosophie der elementaren Medien entwarf, in der er Natur als Medium fasst.

Die Tagung vereint Beiträge zu Wahrnehmungsfragen im weiten Rahmen der Möglichkeiten und Fallstricke einer gegenwärtigen Naturästhetik. Die Beiträge kommen aus den Geisteswissenschaften und der freien Kunst. Die Themen werden die Medialität der Natur in Wissenschaft und Kunst anhand von Beispielen, und auch im Rückbezug auf die Geschichte ausloten. Die Beitragenden fragen z.B., was sensorisch überwachte Umwelten über das Potential medialer Spürtechniken jenseits Natur-Kultur-Dichotomien aussagen; wie sich Menschen, die in die Natur gehen, gleichzeitig mit High-Tech gegen diese abschirmen; welche Einfühlungstechniken in Pflanzen uns empfindsam werden lassen für unsichtbare und komplexe Prozesse wie den Klimawandel, aber auch unter welchen medialen Bedingungen Pflanzen selbst in der aktuellen Forschung als sensitiv erscheinen; welche visuellen Wahrnehmungen ermöglichen wiederum global-sphärische Spürdispositive, die über remote-sensing den Zustand der Natur beobachten?

Übergeordnet werden wir diskutieren, ob der Begriff der Atmosphäre, zugleich meteorologisch und ästhetisch gedacht, dazu dienen kann, das Natürliche nicht als Gegenüberstehendes, sondern als das uns Umgebende und uns Durchdringende in einer responsiven Weise neu zu fassen? Sind Phänomene wie Solastalgia ein Symptom wiederaufkommender Sehnsucht nach verlorener Ganzheit, oder zeichnet sich hier eine empfundene Hilflosigkeit gegenüber Klimawandel, Artensterben, Luftverschmutzung ab, die die Notwendigkeit neuer Wissens- und Handlungsweisen aufzeigt? Was ist die Gegenwart sinnlich-leiblichen Spürens und Erkennens?

Neben den üblichen Vortragsformaten wird es auf der Tagung auch alternative Formate und viel Raum für Diskussionen geben. Auf diese Weise erhoffen wir uns einen intensiven Austausch zu all diesen Fragen.

Am Samstag findet im Anschluss an die Tagung die Gründung der AG Eco Media: Medien der Natur von 9:30-13:00 statt.

Teilnahme:

Da der Platz im ZeM begrenzt ist, bitten wir alle, die an der Tagung teilnehmen möchte, sich unter medienoekologie@uni-potsdam verbindlich anzumelden. Uns wäre es am liebsten, wenn alle Teilnehmer die ganze Tagung bleiben. Auf alle Fälle bitten wir vom Besuch von einzelnen Vorträgen abzusehen.


ZEM-SPRING LECTURE

1. ZeM Spring-Lecture

Are Sensing Technologies Cognitive? Making the Case

Fri, 5/25 6.00 pm – 8.00 pm

Prof. Dr. N. Katherine Hayles

Location
Universität Potsdam
Am Neuen Palais 10
Haus 8
14469 Potsdam


The Brandenburg Centre for Media Studies (Potsdam) opens a new series of lectures with N. Katherine Hayles. Under the title Spring Lecture, every (early) year a renowned personality of (international) media studies is invited in association with one of the member institutions of the ZeM. The first of these is the Chair of Media Theory/Media Studies at the University of Potsdam (European Media Studies) with N. Katherine Hayles who will address the topic "Are Sensing Technologies Cognitive? Making A Case'.

As programmable and networked computers move into the world with increasingly complex sensing systems, traditional questions about machine intelligence cease to be very useful to understand and conceptualize these developments. This talk will focus on cognition rather than intelligence and will compare the perspectives of biosemiotics on sign systems in biological organisms with the sensing capabilities of artificial cognitive systems. The issue is not simply terminological but rather illuminates what is at stake in designing and implementing sensing networks, especially in understanding the relation of such systems to the cognitions of their human designers and users.

Persons
N. Katherine Hayles is Professor of Literature with focus of research on science and technology, electronic textuality and science fiction. She is the author of numerous books, including Unthought. The Power Of The Cognitive Nonconscious (2017), How We Think. Digital Media and Contemporary Technogenesis (2012) and How We Became Posthuman. Virtual Bodies in Cybernetics, Literature and Informatics (1999).


Location
Map


WORKSHOP

Ludic Boredom

Fri, 6/1 10.00 am – 6.30 pm

LOCATION
ZeM – Brandenburgisches Zentrum für Medienwissenschaften
Hermann-Elflein-Straße 18
14467 Potsdam


REGISTRATION
kray@uni-potsdam.de


The workshop will explore the social, cultural, and philosophical implications of boredom in relation to play and work, technology, media, and computer games with the goal of developing an international collaboration that establishes an innovative interdisciplinary research program to examine the undertheorized phenomenon of ludic boredom in depth.

Paradoxically, boredom seems to lie at the heart of thecurrent culture of constant connectivity and productivity enhanced by digital media. Each potential momentof boredom is at the same time a possibility for monetization – advertisements, casual games, social media,and other pushed notifications, all seem to be competing for our attention, which could otherwise be suspended in blissfully prolonged recreational “Langeweile”. Boredom becomes particularly interesting inrelation to play and digital games, which are supposed to serve as an antidote. The workshop is furthermore characterized by its international speakers, thanks to the in-house funding line of the University of Potsdam, KoUP.

Program
10:00 – 10:30 Opening address, organizational remarks, Sebastian Möring & Sonia Fizek

10:30 – 11:15 Fabian Goppelsröder (FU Berlin, Germany): “Waiting for the Moment that never comes…Ludic Boredom and the Aesthetics of Fatigue in the 24/7 Society”

11:15 – 12:30 Tom Apperley (Deakin University, Australia): “Random & Boring”

12:30 – 13:15 Sonia Fizek (Abertay University, Scotland): “Boredom and Background: Towards an ambient aesthetics of games”

13:15 – 14:45 Lunch break

14:45 – 15:30 Sybille Lammes (Leiden University, Netherlands): “Boredom in play: On ludic languor, nothingness and ennui”

15:30 – 16:15 Olli Tapio Leino (City University of Hong Kong, China): “On the material origins of ludic boredom as a totalizing attitude toward the game world. An existential-ludological analysis”

16:15 – 16:30 Coffee break

16:30 – 17:15 Tomasz Z. Majkowski (Jagiellonian University, Poland): “Boredom, power and discipline”

17:15 – 18:00 Sebastian Möring (University of Potsdam, Germany): “On the relation of boredom and care in computer game play from an existential ludological perspective“

18:00 Closing remarks

The workshop language is English.

Please register with Lydia Kray (DIGAREC, University of Potsam) if you wish to attend the workshop: kray@uni-potsdam.de.

The order of the speakers may be subject to change. For the most updated program please refer to www.digarec.de.

In cooperation with: University of Potsdam, FH Potsdam, EMW (European Media Studies), DIGAREC and ZEM.


COLLOQUIUM

Research Colloquium

Fri, 6/1 2.00 pm – 4.30 pm

Carolin Anda, Dr. Özgür Cicek

Location
ZeM – Brandenburgisches Zentrum für Medienwissenschaften
Hermann-Elflein-Straße 18
14467 Potsdam



This research colloquium for media studies gives postgraduates and scholars the opportunity to present and discuss their current doctorate and research projects within a collegial environment.

LEITUNG
Direktorium des ZeM
KOORDINATION
Dr. Adelheid Heftberger, ZeM


Reisen mit/durch/auf Facebook – Sozio-technische Dynamiken facebook-inhärenter Urlaubsfotografien
Carolin Anda (ZeM)

The dissertation focuses on tourist amateur photographs that are distributed and used on the social network Facebook. The expansion and easy accessibility of social media over the past 12 years has led to new ways of using private material and media practices that have changed the way private photographs are handled and received. Social practices of photography - such as showing and exchanging photographic material with friends and acquaintances and photo albums or documenting experiences - migrate to the social network Facebook and are integrated into the network architecture. There, specific media practices, image distributions and actor relationships emerge through the operating functions of the interfaces, various modification and participation possibilities (e.g. like and share functions, hashtagging and geotagging) and through the underlying technical infrastructure. Vacation photographs represent negotiation areas of private, commercial and technical interests that stabilise the network, fix and influence media and socio-technical actions and provide important information about photographers' travel preferences, travelled distances and individual image content.

The work is based on the interdisciplinary field of network research and its associated current theories on forms of visual culture, new media, digitality, socio-cultural ways of using media, tourism theories and socio-technical theories of action. One of the theoretical premises of the thesis is the assumption that holiday photographs have an agency generated in the social network, which can be updated and reproduced in different ways in the process of reception, participation and socio-technical/socio-medial concatenations. The dissertation is interested in the technical and user-generated ways of use and distribution mechanisms as well as in the media prerequisites and conditions for such forms of updating private photographic material that enable the emergence of visual worlds of experience. This interest in knowledge requires an examination of the photographic pictorial material and its possibilities of participation/modification as well as socio-cultural, socio-technical and media-scientific theories.


Turning Kurdish memories into films: The representation of ‘home’ as a domestic/personal archive
Dr. Özgür Çiçek (ZeM)

Kurdish cinema, categorized as such since the 2000s, is a transnational cinema that is produced from various locations including Germany, France, UK, Turkey, Rojava, and Iraqi Kurdistan. Now that Kurdish people are dispersed in many countries their history writing is limited to the individual attempts of Kurdish history writers and academics. The absence of the Kurdish archive or history writing created a tension that released itself through young motivated filmmakers who used cameras like a pen to write their history, that was mainly shaped by the memories they listened from their parents, grandparents, or relatives. In this sense many Kurdish filmmakers from Turkey make personal documentaries that reveal their unrepresented personal histories.
When we look at Kurdish films produced in Turkey one recurring theme is the representation of ‘home’ as the place where all personal records are stored and kept. For instance in Zeynel Doğan and Orhan Eskiköy’s The Voice of My Father (2012) the basement of Base’s home is where she keeps all the vocal letters, clothes, and belongings of her husband. For her ‘home’ is more than a place where one feels most comfortable, but it’s also a castle made up of her personal memories. Leaning on this background in this presentation I will first provide a short background on Kurdish filmmaking practices in Turkey. Further I will focus on the representation of ‘home’ in Kurdish-German director’s fiction and documentary films. Through looking at the films by Ayşe Polat, Miraz Bezar, Yüksel Yavuz, Soleen Yusef, and Rezan Yesilbaş I will question the function, and the visual aesthetics of ‘home’ in German Kurdish directors films. The questions I will explore are how do the themes of home and homelessness represented in Kurdish-German director’s films? How do Kurdish-German filmmakers aestheticize or destruct the image of ‘home’ in their films? Furthermore, how do the recently migrated Kurdish filmmakers from Turkey represent or problematize home? Does home stand for the locus of the family roots, or a place where one feels safe and unthreatened due to her national identity? What is the function of home as a domestic archive that stores traces of unrepresented /undocumented personal or national histories?


WORKSHOP

Television Studies/Fernsehgeschichte

Series Research and Television Studies

Fri, 6/8 9.30 am – 6.30 pm

Location
ZeM – Brandenburgisches Zentrum für Medienwissenschaften
Hermann-Elflein-Straße 18
14467 Potsdam


Admission is free


Workshop of the working group "Television Studies/Fernsehgeschichte" of the Society for Media Studies (GfM) in cooperation with the Brandenburg Centre for Media Studies (ZeM).

Televisuality is historically closely linked to various forms of seriality: Television lives in the design of its program, the economy of its media production and the ritualized form of its reception of repetition in series. In the television series, this coupling is condensed into a genuine object form: through the reliable return of familiar serial characters, the mode of their cinematic and narrative procedures typical of each individual series, and the regularity and permanence of their availability, forces of connection arise not only between the individual episodes of a series, but also between medium and audience, through which the television series has become a model case for television theory itself.

With the emergence of serial research as an independent field of research, the historically close coupling of televisuality and seriality, both in terms of theoretical traditions and epistemologies as well as in terms of research programs, has increasingly weakened in recent years: the (media) scientific popularity of series and serial forms remains unchanged, while there is comparatively little interest in the theorization of television. This manifests itself, for example, in media-neutral determinations of seriality as a 'transmedial narrative form' or in an attempt to completely eradicate the televisual from the now 'audiovisual series'. The workshop is therefore intended to open the space for a mutual and fundamental determination of the relationship between series research and television science: Are theories of television beyond the mere historical entanglement of televisuality and seriality still relevant for research into contemporary series and serial forms? To what extent would the televisual be a possible reference point for serial regulations beyond television? Is there perhaps even a recursiveness of television history, does the episodic of television, apparently suppressed by narrative progression, reappear in the form of the anthology series? Conversely, however, one can also ask how the concept formation of television studies can react to the dissolution, transformation and networking of media dispositives and their integration into digital media ecologies, the analytical penetration of which is precisely the aim of series research. How does the examination of televisuality in turn benefit from a conceptualization that refers primarily to 'Quality' TV, to the series offerings of HBO, Amazon or Netflix and other post-televisual actors and media forms?

So how can a possible television forgetfulness of series research not only be problematized, but productively turned around? And how can the terminological repertoire of television theory possibly be extended beyond itself with theories of the serial?

Against this background, the working group would like to gather current approaches for serial research on television, discuss them together and thereby give the subject new impulses for future studies.

Programme


9.30am

Opening by Dominik Maeder, Herbert Schwaab und Denis Newiak

10.00am

Christine Piepiorka: Verräumlichte Transmedialität – prozesshafte Serialität
Jana Zündel: Fernsehen als transmediales Konzept? Zur Modifikation televisiver Text- und Strukturprinzipien auf Streaming-Plattformen
Denis Newiak: Fernsehen und Einsamkeit: Serien der Ver- und Entgemeinschaftungen

11.30am

Coffee break

12.00pm

Stefan Borsos: ‚Serielle Eruptionen‘ im US-Fernsehen der sechziger Jahre
Christine Lang: Vertikale Dramaturgie in Fargo (TV)
Florian Krauß: Im Angesicht fernsehhistorisch gewachsener Strukturen: ‚Qualitätsserien‘-Projekte und -Diskurse in der deutschen Fernsehindustrie

1.30pm

Lunch break

3.00pm

Sven Grampp: Season’s Greetings: Fest und Serie
Anja Peltzer: Fernsehzeiten? Zur chronologischen Ordnung und den Wirklichkeitsbezügen eines Leitmediums im Wandel
Markus Kügle: Die Clip-Show in der US-amerikanischen (Fernseh)Serienlandschaft

4.30pm

Coffee break

5.00pm

Kim Carina Hebben: Verspieltes Fernsehen. Spiel und Spieler_innen im Transmedialen
Andreas Sudmann: Serialität und Fernsehen im Zeitalter der Lernalgorithmen
Michaela Wünsch: Relationale und differentielle Serialität

6.30pm

End of event


For further information please write to
herbert.schwaab@ur.de, dmaeder@uni-bonn.de und gfm@denis-newiak.de


WORKSHOP

Versatile Camcorders: Looking at the GoPro-Movement

6/21 – 22 10.00 am – 5.30 pm

Location
ZeM – Brandenburgisches Zentrum für Medienwissenschaften
Hermann-Elflein-Straße 18
14467 Potsdam


The GoPro is a so-called “action camcorder”, a small, easy-to-use and particularly robust camera which allows making video recordings under water or during a parachute jump and other situations that are difficult to shoot.
It was first launched as an analog photo camera for surfers in 2004. The objective of this new culture is inscribed in its brand “Go-Professional”: alleged professionalization of image production under extraordinary conditions.

With the GoPro as the “world’s most versatile camera”, as said in the advertising text, the gesture of this promoted mobility is transferred to the actions of the camera operator and the possibility of linking the camera to various moving objects and subjects.
A genre of daring (existential) images emerges. For example images of the falling (skydivers, base jumpers and wingsuit fliers) and the fallen (when helmet cameras of militants record combat situations) as well as images of situations beyond control (animals hijacking the camera). Even more as in images shot with a hand camera perspectives become shaky; they flip vertical or horizontal, with the filmmakers’ bodies in the center. GoPro not only introduced a new camera segment but also changed the way of amateur filmmaking. This cannot be reduced solely to technical means, but rather to assertive brand communication.

Topics that are to be discussed at the conference from the perspective of this still relatively new device include: the transformation of amateur filmmaking and its correlating visual worlds; the gesture of venturous action and increased risk-taking; the impact on (citizen) journalism; aspects of the the circulation of images in social networks; new gestures such as selfies as well as the effects of the device on the body; surveillance (when the GoPro is mounted on drones) as well as recording the unexpected or the unintended.

The workshop will be held in English and German.
https://versatilecam.de/

Organized by Winfried Gerling and Florian Krautkrämer.


Programm:


Day 1 – 21.06.2018

10:00–11:00
Introduction

Winfried Gerling and Florian Krautkrämer Fachhochschule Potsdam/Hochschule Luzern


11:00–11:15 Coffee


11:15–13:15
Going Beyond the Human Perspective: GoPro Cameras as Subversive Image-Making Devices

Philippe Bédard, Université de Montréal
Filming Animals: Portable Media and Non-Human Media Practices
Marek Jancovic, Johannes Gutenberg-Universität, Mainz


13:15–15:00 Lunch


15:00–17:00
Vision Machines and the Body in Conflict

Svea Bräunert, University of Cincinnati
Neues Sehen. Die Multiperspektivität des GoPro-Cyborgs
Fabian Goppelsröder, Freie Universität Berlin


17:00–17:30 Coffee


17:30–18:30
Mit der GoPro in den Heiligen Krieg
Simon Menner, Berlin



Day 2 – 22.06.2018

9:30–11:30
Watching ›a Skyscraper on its Side‹ – From the Sky. Horizontale Macht aus vertikaler Perspektive und Ästhetiken der Konstruktion und Destruktion
Tobias Conradi, ZeM Brandenburg
Sehen lassen. Spekulationen zur Technisierung des Blicks
Jan Distelmeyer, Fachhochschule Potsdam


11:30–12:00 Coffee


12:00–14:00
Driftung und Wirbalisierung: ambulatorische fun-und-thrill-Techniken medio-as-sociativer GoPro-Aufzeichnungsekstasen

Matthias Thiele, TU Dortmund
Der Sumpf film(t). Bewegtes Bild und Umweltlichkeit in ‘Swamp’ (Nancy Holt/Robert Smithson)
Julian Jochmaring, ZeM


14:00–15:30 Lunch


15:30–17:30
Nicht alle Fische haben Augen. Vom Untergehen und Auftauchen

Nanna Heidenreich, Internationale Filmschule Köln
Wie GoPro den Weltraum bewohnbar macht
Anne Quirynen, Fachhochschule Potsdam


WORKSHOP

Feminist speculations with strange bedfellows

6/28 – 29

Location
ZeM – Brandenburgisches Zentrum für Medienwissenschaften
Hermann-Elflein-Straße 18
14467 Potsdam

Guest lecture

Feminist speculations with strange bedfellows

Spekulatives Denken als radikaler Empirismus und situiertes Wissen

Thu, 6/28 6.00 pm – 8.00 pm

Melanie Sehgal, Europa-Universität Viadrina

Location
ZeM – Brandenburgisches Zentrum für Medienwissenschaften
Hermann-Elflein-Straße 18
14467 Potsdam


Based on Donna J. Haraway's "situated knowledges", the lecture will focus on Alfred N. Whitehead's understanding of speculation, combining philosophical-historical and contemporary references. It will be about questions like: To what extent can we speak of Whitehead's speculative metaphysics as a form of situated knowledge? What does metaphysics mean here and to what extent is it speculative? And to what extent can such speculation be a form of radical empiricism? The use is a pragmatic understanding of speculation and is intended to show that speculative thinking in the Whitehead/Jamesian sense is both empirical and situational.

Melanie Sehgal is junior professorship for literary studies, history of knowledge and media at the European University Viadrina Frankfurt/Oder and will represent the chair for cultural philosophy there in the summer semester 2018. Her doctorate was awarded in 2016 under the title Eine situierte Metaphysik. Empirism and Speculation published by William James and Alfred North Whitehead at Constance University Press.

The lecture will take place within the workshop "Feminist speculations with strange bedfellows".


COLLOQUIUM

Research Colloquium

Fri, 7/6 10.30 am – 1.00 pm

Naomie Gramlich

Location
ZeM – Brandenburgisches Zentrum für Medienwissenschaften
Hermann-Elflein-Straße 18
14467 Potsdam



This research colloquium for media studies gives postgraduates and scholars the opportunity to present and discuss their current doctorate and research projects within a collegial environment.

LEITUNG
Direktorium des ZeM



What if Media was really Nature all along? Re-telling and speculating as possibilities for redefining the relationship between nature and media
Naomi Gramlich

My doctoral project begins with the concept of dualism between nature and technology in cultural and media studies, and with the motives for this dualism's ongoing dissolution and the resulting changes in theoretical comprehensibility. I understand my work less as working out an unexplored topic, object or motif for the research field of media studies. Rather, my approach attempts to be a re-reading of individual media discourses from feminist and eco-material perspectives (Part 1) and as a proposal of speculative narratives of technology and nature from post-colonial or decolonial fields of knowledge (Part 2).





MITGLIEDERVERSAMMLUNG

MITGLIEDERVERSAMMLUNG

Fri, 7/6 2.00 pm – 3.30 pm

Location
ZeM – Brandenburgisches Zentrum für Medienwissenschaften
Hermann-Elflein-Straße 18
14467 Potsdam



EXHIBITION OPENING

Amateurfilm gestern und heute

Ausstellungseröffnung: HOME MOVIE COME BACK

Fri, 7/6 7.00 pm

Location
Filmmuseum Potsdam
Breite Straße 1a, Marstall
14467 Potsdam


Smartphones, social Networks and private videos are part of today's everyday culture. However, this phenomenon is not new. It builds on a tradition that began 150 years ago with optical toys and lantern magica shows for home.

HOME MOVIE COME BACK builds bridges from the past to the present - with an exhibition, a film series and the first HOME MOVIE DAY in Brandenburg.

The exhibition takes a foray through the cross-media history of home cinema: from its pre-cinematographic roots to classical forms and current home movie cultures. In a living room modelled on the 1960s, visitors can immerse themselves in the world of hobby filming and admire exhibited film technology from a total of six decades. Another chapter is dedicated to the ambitious amateur filmmakers and politically committed video collectives of the post-war period.

Admission to the exhibition opening is free.

Organisation

The exhibition HOME MOVIE COME BACK was developed in cooperation with the Filmmuseum Potsdam and the study programme Filmkulturerbe from the Film University Babelsberg KONRAD WOLF.


Screening

Following the exhibition opening "Der Filmamateur" from Krzysztof Kieślowski will be shown in the cinema of the Filmmuseum Potsdam at 8:30 pm.


WORKSHOP

The Digital View - Mixed Methods in Image Analysis - Quantitative versus qualitative approaches

9/13 – 14

Location
ZeM – Brandenburgisches Zentrum für Medienwissenschaften
Hermann-Elflein-Straße 18
14467 Potsdam



The method of image comparison has a long tradition in art and image studies. Since the middle of the 19th century in particular, image comparison has shaped a media “dispositive” that found its way into academic art lessons with the use of double slide projection and photography as a reproduction tech-nique.

Image comparison as a method and the analysis of visual similarity criteria are today faced with new possibilities in terms of media technology in view of the digitality of images, the digital flood of imag-es on the Internet and digital methods. In addition to the classical analog image sciences, computer-controlled calculation methods such as computer vision or machine learning algorithms are used for image comparison to sort the image data using pattern recognition or distant viewing.

For some time now, both qualitative-hermeneutical and formal-quantitative approaches have been combined in the analysis of digital images. However, a systematic and critical evaluation of the epis-temic value of the two methods, especially in their combination, is only just beginning. This is where the workshop comes in:
It combines different perspectives on questions of the comparison of (digitally available) images. The papers dealing with these questions come from the humanities, starting with art and image studies, and are supplemented by voices from quantitative disciplines such as computer vision research. The work-shop focuses on image-scientific questions in mixed methods research, but opens up thematically with regard to the overarching question of qualitative and quantitative data. Approaches from sociology, the artistic occupation with automated image generation and practices from the field of data journalism are also included in the discussion.

At a higher level we will discuss the question of how the "digital comparative view" of the computer is to be evaluated in comparison to a purely analog (human) view. What are the promises of digital image analysis and to what extent do digital analysis methods generate "similarity"? What new in-sights and models of explanation are produced? What in turn means the specifically digital mediality of the comparison and what would be a possible image-theoretical location? What are the potentials, but what are the limits of the digital view? And finally: Which specific narratives and cultural projec-tions are articulated in the application of digital image analysis methods?

The first day of the workshop is dedicated to the individual lectures, with plenty of room for discus-sion. The morning of the second day will serve to actively deal with the mixed-methods topic by means of targeted text reading and group work, and then to finally attempt to locate the questions in a "coordinate system of methodology".

Organization

The workshop is organized as part of the research project "anci" (analysing networked climate imag-es), which is dedicated to the topic of similarity as a criteria of image comparison in image and com-puter science and visualization research using the example of climate images on the Internet.

Prof. Dr. Birgit Schneider, Janna Kienbaum (University of Potsdam)
Prof. Frank Heidmann, Paul Heinicker (University of Applied Sciences Potsdam)
Dr. Thomas Nocke (Institute for Climate Impact Research Potsdam)

Participation

Since the space in the ZeM is limited to 40 people, we kindly ask all, who would like to participate in the conference to register via jkienbau@uni-potsdam.de or paul-heinicker@online.de


WORKSHOP/PRESENTATION

KINOMATICS @ BABELSBERG

DIGITAL CULTURAL ANALYTICS & VISUALIZATION

Thu, 9/13 11.00 am – 4.00 pm

Location
Filmuniversität Babelsberg KONRAD WOLF
Marlene-Dietrich-Allee 11
14482 Potsdam


11-13 h, Room 4301

Using Tableau to Visualise, Understand, and Analyse Research Data

Vejune Zemaityte (Deakin University, Melbourne)

This workshop will offer a short introduction to using Tableau for exploring datasets and visualising findings. Tableau is a visual analytics tool that offers users a simple and quick way to understand their data. Differently from other visualisation and analytics packages such as R, Tableau has a short learning curve as users do not have to learn a programming language or use code. Instead, anyone can visualise data by simply clicking and dragging.
Participants of this workshop are invited to bring their laptops and try using their own versions of Tableau Desktop, although anyone is welcome to simply follow the presentation on screen.
Resources
• A free version of Tableau Desktop Public (only allows you to save files on your Tableau Public profile): https://public.tableau.com/s/download?source=cta
• A free 14-day trial version of Tableau Desktop Personal (allows you to save files to your computer): https://www.tableau.com/products/desktop/download
• Tableau training videos: https://www.tableau.com/learn/training

14-16 h, Room 2115 (Kino)

The Kinomatics Project: Big Data goes to the Movies

Prof. Dr. Deb Verhoeven (UTS - University of Technology Sydney)

This presentation will showcase The Kinomatics Project – an international effort to collect, explore, analyse and represent digital data about the creative industries. Our research is collaborative, global and interdisciplinary. It is based on the premise that films can be understood as cultural goods that are distributed both between ‘territories’ or markets and across the globe according to industrially unique spatial patterns and temporal flows. Our project name is itself a combination of Kinematics; the study of the geometry of motion, and Kino; the term meaning cinema in many countries. Professor Deb Verhoeven, Director of the Kinomatics Project will present examples of the research team’s findings. | www.kinomatics.com

Organized by Visiting Professor Dr. Skadi Loist | Fakultät I | Production Cultures in Audiovisual Media Industries
Questions & registration: franziska.c.schubert@filmuniversitaet.de & s.loist@filmuniversitaet.de


9/20 – 21

details