Kino im Deutschen Filmmuseum
Master
Film Culture
Master
Film Culture
Master
Film Culture
ZIRKULATION
Werkstatt-
gespräche
Master
Film Culture
Seit Oktober 2019 auch in Jos, Nigeria!
Master Film Culture

Master Film Culture

The Masters program “Film Culture: Archiving, Programming, Presentation” prepares academic personnel for working in film and media archives and other film culture institutions. It is the first program of its kind in a German university, and is offered by the Goethe Universität (Institute for Theater, Film and Media Studies) in conjunction with the DFF – Deutsches Filminstitut & Filmmuseum in Frankfurt am Main.

In addition to the various departments and archives of the DFF, the program benefits from a diverse, well-developed and enduring partnership with a wide range of cultural and audiovisual institutions located in the Frankfurt region, and also collaborates with numerous national and international bodies.

Archiving, Programming, Presentation

The process of digitization has resulted in a fundamental transformation of all areas of research and practice in film culture. There is thus a clear demand from institutions for qualified academic personnel with a profound knowledge of film history and theory, who can meet the present challenges through critical thinking, long-term vision and with the specific tools of the discipline.

At the same time, we can presently observe an “analogue turn”, and, above all, a renewed deployment of the concept of the archive in artistic practice, as well as in preservation and exhibition practices. Phenomena such as the archival preservation of the world’s film heritage, the experimental use of film materials by curators and artists, and the presentation of moving images (both digital and analogue) for a public whose configurations are equally in motion, represent a field of tension and a significant challenge for work in film culture and academic reflection.

Perspectives

The Masters in Film Culture prepares academic personnel for working in film and media archives. The program also represents a response to the question of how smaller disciplines, which do not train students for teaching in schools, can support their graduates in their transition to professional careers.

Completing the program qualifies students for professional roles in cinémathèques, film and media archives, print and television journalism, museums and collections with an emphasis on film and audiovisual media, film production and distribution companies, and independent organizations and initiatives, as well as for curatorial activities in both the exhibition sphere and in cinemas and festivals. There is also the possibility of progressing to doctoral study.

Formats

Study Environment

Goethe Universität and the Institute for Theater, Film and Media Studies

The Masters program benefits from the broader assets of the Goethe Universität. Frankfurt possesses a long tradition of critical academic engagement with the cinema, which stretches across the critical theory of the Frankfurt school, the establishment of the first film studies program in Germany in the early 1970s, and the founding of the Institute for Theater, Film and Media Studies in the early 1990s. With an international orientation, Frankfurt’s university library has systematically collected film-related literature since the 1950s, and in this area its collection is of Europe-wide significance.
Students have access to the university’s infrastructure, and can participate in the extensive offer of colloquia, conferences, international collaborations, guest lectures, etc. They have unrestricted access to the classes and events offered by the Institute for Theater, Film and Media Studies.
Local research partnerships within the university, which can further enrich the Masters in Film Culture, notably include those with the Forschungszentrum für historische Geisteswissenschaften (Research Center for Historical Humanities), the graduate college “Konfigurationen des Films” (Configurations of Film), the project “Fokus” (research data management), the joint project “Die universitäre Sammlung als lebendes Archiv” (The University Collection as Living Archive), the Cornelia Goethe Zentrum, the Städelschule, the Hochschule für Musik und Darstellende Kunst (HfMDK), the Hochschule für Gestaltung (HfG) Offenbach, the Hessische Film- und Medienakademie (HfMDK), and many others.
For the Masters in Film Culture, relevant teaching curriculum partnerships have also been established. In addition to the Institute’s own courses, the program closely cooperates with the Law department, the Economics department and the Masters in Curatorial Studies offered by the Institute for Art History. Drawing on the perspectives of these disciplines, students are thus able to familiarize themselves with fundamental questions in the areas of copyright, author’s rights and film marketing, as well as with the configurations and practices of museums and exhibition sites.
The Institute for TFM possesses its own 16mm film archive. The celluloid film collection was successively built up since the foundation of the institute in 1991. A set of early cinema films (1895-ca. 1918) forms the cornerstone of the collection, and consists almost entirely of unique 16mm prints made from restored 35mm color negatives owned by the EYE Film Instituut in the Netherlands. The collection also consists of experimental films and auteurist classics, as well as pedagogical and scientific films. Although the Institut for TFM also maintains an extensive digital mediathèque, this collection of roughly 350 films emphasizes the relevance of analogue film materials, and represents a precious object for research and teaching, as well as a directly accessible site for students to undertake independent, practical archival work.

DFF – Deutsches Filminstitut & Filmmuseum

The DFF – Deutsches Filminstitut & Filmmuseum is among the most significant film archive facilities in Europe. With its own cinémathèque (the Deutsches Filmmuseum), a film archive and distribution center, a library and text archive, collections, festivals, online platforms, film education projects and publications, it actively contributes to the transmission of living film culture, on a national and international level. It is consistently engaged in contemporary debates in the field, and offers students a lively, ambitious environment for their studies in film culture, which goes well beyond their regular participation in seminars.
The Cinema within the DFF is a unique educational and experiential space, to which Masters students have free access during the first two semesters of their study. It offers an international program of screenings, with retrospectives, thematic series and national panoramas, oriented both to the history of the cinema and to contemporary film art. Films are usually shown in their original language and in their original format, which means that analogue film (in 16mm, 35mm and 70mm) can be experienced in its initial mode of reception. Prominent filmmakers such as Jonas Mekas, Michael Haneke, Margarethe von Trotta, Liv Ullmann and many other are regularly invited to attend debates and discussions with the public. One of the most important programs is the Lecture & Film series organized conjointly with the Goethe Universität, which, over the course of the academic year, highlights film artists and tendencies in film history. Treppe 41, a student-initiated film club, also allows students to develop their own experiences in film programming.

Mandatory Phase

Students acquire a comprehensive grounding in the specific field of film studies in the first year of the degree by taking four modules in film history, archival practice, legal/economic questions, and the institutional history of the museum and the film festival. The introductory module serves to deepen the students’ core competencies in film studies, while the advanced modules combine the study of cinema with additional qualifications in the spheres of archive studies, museum studies, intellectual property law, film economics/marketing, and the practices and institutions of film culture. Alongside the seminar format that is the norm in the Institut für TFM (as well as, more rarely, lectures), there are some special features of the Masters in Film Culture, which will be described below.

Seminars given by the Junior Professor in Film Culture

For the Masters degree, subject-specific seminars are given by the Junior Professor in Film Culture, Jun.-Prof. Sonia Campanini. With an emphasis on film history and media theory, these seminars propose a critical engagement with the themes of film archiving, restoration and curation, as well as the programming and presentation of film culture.
The seminar, “The Materiality of Film and Cinema” serves as an introduction to the objects and debates of film culture. Film is a medium that finds itself in a state of permanent transition. This is clear with the continuous transformations taking place in film technology, economics, institutions and aesthetics. The “digital turn” and the process of media convergence raise questions about the material properties of film. The resultant media ductility requires research into the material forms of the cinema, which is the focus of this seminar. In this vein, objects of discussion include cinematic machines and devices, color and sound systems, and theories of “post-cinema”. This engagement benefits from the department’s own film archives, with its facilities for viewing 16mm film (including projectors and editing tables).
Further seminars provide for a deepening of subject-specific expertise. The seminar “Institutions of Film Culture: Film Archives, Film Museums, Film Festivals” gives an overview of the advent and evolution of film archives, cinémathèques and film museums, in addition to their significance as cultural institutions. With a view to the present and the future, this seminar explores how these institutions act in response to the conservation, development and transmission of film culture, as well as how they solve the various challenges and dilemmas that have emerged, such as “preserve vs show” or “market vs museum”. It analyses the positions and strategies of international institutions like the Stiftung Deutsche Kinemathek, the Friedrich-Wilhelm-Murnau-Stiftung, the British Film Institute, the Cinémathèque française, the EYE Film Institute and others, as well as examining film festivals dedicated to the presentation of archival films, such as the Cinema ritrovato in Bologna, the Giornate del cinema muto in Pordenone, the Silent Film Festival, and the Berlinale’s retrospective programs.
In the seminar “Restoring Film, Curating Film”, theories, practices and methodologies of film preservation and restoration, as well as film curation and exhibition, are discussed with reference to textual resources and case studies. Themes and concepts such as Original and Version, Text and Artefact, Reproducibility and Authenticity form the theoretical basis for this class. The analysis of various restoration projects from diverse institutions and periods provides critical skills and a diachronic awareness of film restoration and curation.

Seminar “The Practice and Politics of Archives”

With its intertwining of theoretical discourse and practical activity, the two-part seminar “The Practice and Politics of Archives” forms the core content of the degree, and is obligatory for all students in the Masters in Film Culture. It is led by experts from the DFF, and is also held on its premises, where film culture is conceived, developed and promoted: in the facilities and archives of the DFF. Beginning with the activity areas of the institute, students come into contact with all facets of curatorial and archival work. They become deeply familiar with the DFF, including the film museum and the cinema, and work with the extensive holdings of its film archive, non-film collections, and photo, poster and text archives. “The Practice and Politics of Archives” centers on the materiality of film in its various analogue and digital manifestations, and places an emphasis on the restoration, reconstruction and digitalization of films, as well as on the presentation of the moving image in the cinema, on DVD and in the Internet. Consequently, the seminar combines theoretical components with practical exercises: the identification of historical film material, the comparison of material on the editing table, research into historical textual holdings, writing and editing entries for the online platform filmportal.de, and more. It interrogates the principles and consequences of contemporary German and European legislation, and elucidates the goals of international film archive associations. Finally, the seminar discusses strategies for raising the social value placed on film as a medium and as an art form, and for inculcating audiences with a long-lasting cinephilia.

Studio Discussions

Encountering the concrete sites and institutions of film culture, enabling an exchange with the central figures active in these institutions, deepening the comprehension of the processes and working methods of film culture, and laying the basis for the students’ own networks: these are the goals of the studio discussions organized by the DFF and the Goethe-Universität in the framework of the Masters in Film Culture. Some of the most experienced protagonists and decision-makers of international film culture visit Frankfurt for an intensive exchange with the students, mostly through a combination of lectures and free-form conversations led by the students’ own questions and points of interest. These guests include the directors of international cinémathèques and festivals, film and art curators, copyright experts, major figures in film production and distribution, as well as academics, critics and other personalities from the vast spectrum of film culture, who have left their mark on film culture and/or have been consistently at the center of discussion and debate. Taken as a whole, these events, which mostly take place in the summer semester and are open to all students enrolled in the Masters in Film Culture, offer a dynamic map of contemporary cultural activity in the cinema.
Beyond the regular series of events, which revolve around a yearly theme, the Goethe-Universität and the DFF organise excursions and studio discussions for Film Culture students revolving around guest appearances.

Workshops

Workshops are concentrated events with guests (both German and international) who have professional experience in areas relevant to the degree, which serve to introduce the students to their field of work. Workshops last for one to five days and form the point of departure for deeper individual research, which can also take the form of a written paper.

Excursions

Instructors at the Goethe-Universität offer regular excursions in the framework of the mandatory phase of the degree. These include the yearly offer for students in their first semester to be accredited at the Berlinale and independently explore the festival, which is combined with a group tour through the Forum Expanded exhibition spaces, conversations with curators, and participation in the one-day archival conference “Think Film”.
Excursions are also offered to Il Cinema Ritrovato, a festival of restored films that has been organized by the Cineteca di Bologna since 1986, the FilmForum/MAGIS Spring School in Gorizia, a dynamic conference with workshops organized specifically for MA and PhD students, as well as, when possible, the FIAF Congress. Beyond this, there are numerous smaller excursions in the context of the ongoing teaching program offered by the Masters in Film Culture (or the Institut für TFM in general), such as the Oberhausen Short Film Festival, the Mannheim International Film Festival, the goEast-Festival in Wiesbaden, as well as trips to various cinemas and special screenings, exhibitions, film-concerts, conferences, and places whose relationship to film and media may not initially be apparent, such as the Frankfurt stock exchange or an industrial site.

Independent Study

In the framework of “independent study”, students have access to additional areas of research, on the basis of discussions with faculty and a reading list developed with the instructor in question. The function of this “Independent Study” essentially consists in building bridges between the content of the research- and practice-oriented components of the degree, and extending fields of knowledge which were first explored in seminars and lectures. This particular form of work is relevant to both the mandatory phase and the profiling phase of the degree. Independent study is particularly useful for a more in-depth evaluation of experiences gained during the internship, and can also be extended in a Masters thesis grappling with the current state of research.

Profiling Phase

Practical Semester

Hands on! In the third semester of the Masters in Film Culture, students will apply the knowledge they have gained of academic methods and ways of working in film culture to the practical sphere, and complete a 3- to 6-month internship in a relevant film culture institution. The goal of this practical semester is the development of a specific archival and/or curatorial project, which is documented in the form of a comprehensive work report, and which forms part of the student’s portfolio. This project can then form the basis of a Masters thesis in the fourth semester.
The selection of a suitable institution for the practical semester is made through a close coordination between the student, the Goethe-Universität and the DFF. The DFF itself makes numerous positions available in its departments, archives and projects, but also expressly encourages students to take the opportunity of an intensive insight into other film culture institutions. The degree has access to a broad network of national and international film culture institutions, festivals, cinemas, and other organisations, which periodically offer positions for the 3- to 6-month internship, including the Friedrich-Wilhelm-Murnau-Stiftung in Wiesbaden, the Arsenal – Institut für Film- und Videokunst in Berlin, and ZDF/Arte in Mainz and Strasbourg. A list of all prior hosting institutions can be found on the NETWORK page. The Goethe-Universität and the DFF may also agree to individual proposals, and to this end seek wherever possible to make use of their existing contacts.

Graduating Module

The graduating module consists of the Masters Thesis and an accompanying colloquium, which provides an opportunity for the presentation and discussion of specific questions relating to content and method, as well as an oral exam on two topics developed within the framework of the graduating module. The profiling phase thus serves either as a qualification for specific professional fields, or as preparation for doctoral study.

News
In Nigeria startet Filmstudiengang nach Frankfurter Modell

Projektstart in Jos, Nigeria: Von dieser Woche an gibt es den Masterstudiengang „Filmkultur: Archivierung, Programmierung, Präsentation“, den das Institut für Theater-, Film- und Medienwissenschaft der Goethe-Universität seit 2013 als Kooperationsstudiengang mit dem DFF – Deutsches Filminstitut & Filmmuseum anbietet, auch in Nigeria.

Der afrikaweit erste Master für Filmarchivierung und Filmkultur wird von der University of Jos und der Nigerian Film Corporation, zu der das National Film Institute und das National Film, Video and Sound Archive gehören, gemeinsam angeboten. Eine Pressekonferenz am Dienstag in Jos, Nigeria, gab den Startschuss zu dem Projekt. 25 Studierende haben nun in Jos ihr Studium der Film Culture & Archival Studies aufgenommen.

Dem Start des Studiengangs ging ein enger Austausch zwischen den nigerianischen Partnern und der Goethe-Universität, dem DFF sowie dem Arsenal – Institut für Film und Videokunst (Berlin) voran. Neben Planungstreffen in Nigeria und Deutschland gehörten mehrwöchige Gastaufenthalte nigerianischer Filmarchivar/innen sowie Filmdozent/innen beim DFF in Frankfurt und beim Arsenal in Berlin zu den Vorbereitungen. Der gegenseitige Lehraustausch wird in der weiteren, auf insgesamt vier Jahre angelegten Aufbauphase des Studiengangs fortgesetzt. So werden in den kommenden Monaten Lehrende der Goethe-Universität sowie Fachleute des DFF und des Arsenal im Co-Teaching mit Lehrenden in Jos die Module des Studiengangs gemeinsam umsetzen. Finanziert wird die Aufbauarbeit vom DAAD im Programm „Transnationale Bildung“.

Abschluss der Werkstattgesprächsreihe: Zirkulation am 15. 07.

In unserer Abschlussveranstaltung der diesjährigen Werkstattgespräche zu Wegen, Waren und Wissen der Filmkultur haben wir die Ehre, Ernst Szebedits (Vorstand der Friedrich-Wilhelm-Murnau-Stiftung) zu Gast zu haben.

Umlaufbahnen von Geschichtsbildern und Interventionen des Filmarchivs
DFF Fassbinder Center, Frankfurt
Eschersheimer Landstraße 121, 60322 Frankfurt am Main
18-20:30 Uhr (s.t.)

Ernst Szebedits leitet seit 2011 die in Wiesbaden ansässige Friedrich-Wilhelm-Murnau-Stiftung, eine der bedeutendsten Institutionen für die Bewahrung und Zugänglichmachung eines Großteils des deutschen Filmerbes. Als solche muss sich die Stiftung wie alle Filmarchive permanent mit der Frage befassen, wie unter den gegebenen ökonomischen Bedingungen Prioritäten zur Restaurierung und Präsentation des gefährdeten analogen Filmmaterials entwickelt und begründet werden können. Eine prozesshafte und ständigem Wandel unterworfene Auseinandersetzung, die die gegenwärtige und zukünftige (Film)Geschichtsschreibung prägt und prägen wird, und die auch in der Öffentlichkeit zirkuliert, wohin sie definitiv gehört. Nicht zuletzt deswegen, weil die Stiftung auch über die Rechte am „verruchten Erbe“ (Karsten Witte) verfügt, sie verwaltet Filme aus dem Nationalsozialismus in ihrem gesamten Spektrum, über dessen Aufteilbarkeit in Propaganda- oder Unterhaltungsfilm man sich streiten kann und sollte. Das aber kann man nur anhand der Filme selbst. Im Werkstattgespräch diskutiert Ernst Szebedits, wie die Sicherung, Zugänglichmachung und historische Einordnung der Filme geleistet wird oder werden müsste, welcher Medien, welcher Kooperationen, welcher finanzieller und organisatorischer Rahmung eine kritische Kontextualisierung bedarf. Ob der „Vorbehalt“ gegen die Nazifilme angesichts der unkontrollierbaren Zirkulation im Internet überhaupt aufrecht zu erhalten ist und welche Auswirkungen der digitale Wandel auf film- und geschichtsdidaktische Arbeit hat, sind weitere zentrale Fragen. Es geht aber auch um Interventionen nicht nur des Archivs, sondern in das Archiv: Wie können Forschung, Öffentlichkeit, und in weiten Teilen unsichtbare Archivbestände zusammenkommen?

Werkstattgespräch am 08. Juli mit Alexander Thies, Vorstandsvorsitzender der Allianz Deutscher Produzenten – Film & Fernsehen e.V.

Produktion und Filmmarkt: Mechanismen, Beschleunigungen und Hemmnisse der Zirkulation
DFF Fassbinder Center, Frankfurt
Eschersheimer Landstraße 121, 60322 Frankfurt am Main
18-20:30 Uhr (s.t.)

Wir freuen uns, dass wir Alexander Thies, Filmproduzent und Vorstandsvorsitzender der Allianz Deutscher Produzenten – Film & Fernsehen e.V., für unsere Werkstattgespräche zum Thema „ZIRKULATION. Werkstattgespräche zu Wegen, Waren und Wissen der Filmkultur“ gewinnen konnten. Im Gespräch mit Prof. Vinzenz Hediger (Institut für TFM, Goethe-Universität) wird Alexander Thies die Wege von der verlängerten Werkbank zum audiovisuellen Erzähler beleuchten und der Frage nachgehen, wie die Digitalisierung die Strukturen der Entstehung und Verwertung von Filmen verändert. Wie kommt es von der individuellen Leistung zur Realisierung immaterieller Werke zu einer Erweiterung kreativer Spielräume?

Werkstattgespräche: Tobias Hering am 01. Juli zu Gast

Am ersten Juni begrüßen wir Tobias Hering (Freier Kurator, Internationale Kurzfilmtage Oberhausen) zu den diesjährigen Werkstattgesprächen: Zirkulation.

re-selected: Jede Kopie ist ein Original.
Kopiengeschichten aus dem Archiv der Kurzfilmtage Oberhausen.
Kino DFF – Deutsches Filminstitut & Filmmuseum,
18 – 20:30 Uhr (s.t.)

Die Internationalen Kurzfilmtage Oberhausen wurden 1954 ins Leben gerufen und zählen zu den wichtigsten Kurzfilmfestivals weltweit. Durch den regelmäßigen Erwerb von Kopien der Preisträgerfilme wurde in Oberhausen kontinuierlich eine Filmsammlung aufgebaut, die heute an die 3000 Titel umfassen dürfte und nicht nur die Festivalgeschichte dokumentiert, sondern auch film- und zeitgeschichtlich von großer Relevanz ist. Unter dem Titel re-selected haben die Kurzfilmtage 2018 ein dreijähriges Rechercheprojekt initiiert, das sich auf die rund 1000 analogen Filmkopien in diesem Archiv konzentriert. Unter der leitenden Prämisse „jede Kopie ist ein Original“ werden ausgewählte Filmkopien materialgeschichtlich untersucht, das heißt mögliche Spezifika der „Oberhausener Kopie“ eines Films identifiziert, die zeitpolitischen und logistischen Umstände recherchiert, unter denen sie ins Archiv gelangte, ihre konkrete Rezeptionsgeschichte und die Spuren, die sie andernorts hinterlassen hat: in zeitgenössischen Rezensionen, transnationalen Korrespondenzen, Versandvermerken, Rechnungsbüchern und anderen formellen und informellen Archiven.
Im Werkstattgespräch wird Tobias Hering, Kurator von re-selected, anhand verschiedener Archivalien aus dem Oberhausener Festivalarchiv Einblicke in Methodik und Praxis des Projekts geben und diese zur Diskussion stellen. Dabei wird die 16mm-Farbkopie des Films Waseyat Ragol Hakiem (Ratschläge eines alten weisen Mannes, Ägypten 1976, 19 min) von Daoud Abdel Sayed als Beispiel herangezogen und in ganzer Länge gezeigt.

re-selected ist ein gemeinsames Projekt der Kurzfilmtage Oberhausen mit dem Arsenal – Institut für Film und Videokunst im Rahmen von „Archive außer sich“.

Werkstattgespräch am 17. Juni mit Leena Pasanen, Festivaldirektorin DOK Leipzig

Encounters. Film Festivals, Audiences, and Markets
DFF Fassbinder Center, Frankfurt
Eschersheimer Landstraße 121, 60322 Frankfurt am Main
18-20:30 Uhr (s.t.)

We are looking forward to welcoming Leena Pasanen, Director of DOK Leipzig, as guest and speaker in our series “ZIRKULATION. Werkstattgespräche zu Wegen, Waren und Wissen der Filmkultur”. On June 17 in the newly opened DFF Fassbinder Center, Leena Pasanen will give insight into the creation and implementation of strategies for film festivals. She will also talk about the situation of up-and-coming producers/filmmakers and their efforts to introduce their productions to the festival circuit and the broader film market alike. Finally, she will touch upon the chances and challenges of international co-productions, as well as the impact that cultural differences in Europe and North America have on contemporary film production.

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Projects

Master Film Culture from Autumn / Winter 2019 also in Jos, Nigeria

The Master Film Culture as international prototype: Starting in the winter semester of 2019, the University of Jos and the Nigerian Film
Corporation will jointly offer the first master program in film archiving and film culture in Africa. This master program will be based on the Frankfurt model and will also train academic staff for film and media archives and institutions of film culture.

The project emerged from the existing cooperation between the film studies department at Goethe University and the Arsenal – Institute for Film and Video Art within the framework of the interdisciplinary research project “Archive außer sich”, which was launched in 2016. The Nigerian Film Corporation has also been a partner of the Arsenal and the Goethe University since 2017.

Based on the principle of knowledge exchange, the four-year project “Archival Studies Master Program Jos” was launched in the second half of 2018. It is organized by Goethe University in cooperation with the Nigerian Film Corporation, the National Film Institute and the National Film, Video and Sound Archive in Jos as well as the DFF – Deutsches Filminstitut & Filmmuseum and the Arsenal – Institute for Film and Video Art.

With the support of the German Academic Exchange Service (DAAD), the Goethe University, the DFF and the Arsenal are jointly training academic staff for the master program in Jos. In addition, teachers at Goethe University and experts of the DFF and the Arsenal will develop and implement the various modules of the degree program in co-teaching with the staff from Jos. Mutual internships for students of both programs are also part of the planning. Jos has already been added to the existing international network of the Film Culture master program as a destination for internships.

The project is financed by the German Academic Exchange Service (DAAD) within their Transnational Education Program (TNB).

Workshop Talks: Previous Editions

pioneering filmkultur. Werkstattgespräche zu Auf- und Umbrüchen in der Filmkultur (2018)

Kontext Kino: Werkstattgespräche zur Filmkultur (2015/16)

Institutionen der Filmkultur: Werkstattgespräche (2013/14)

Conferences, Symposia

ECHOES OF PARTHENOPE Elvira Notari’s Cinema and Neapolitan Popular Culture (2017)

Think Film! A Student Symposium on Communicating Film and its Problems in the 21. Century (2017)

Network

Network

The Masters in Film Culture enjoys a broad network of associated film culture institutions, which has been developed over many years.

In addition to the relationships it maintains with other universities, the film studies program at the Goethe Universität is in contact with relevant film culture institutions, both in Germany and abroad. Of particular note, alongside the key partnership with the DFF – Deutsches Filminstitut & Filmmuseum, are the program’s links with the Arsenal – Institut für Film und Videokunst e.V. (Berlin) and the Friedrich-Wilhelm-Murnau-Stiftung (Wiesbaden), as well as numerous other archives, museums, festivals, broadcasters, film companies, foundations, cinemas, distributors, audiovisual publishers and independent initiatives and institutes. A partnership with the National Archive of Film, Video and Sound, the National Film Institute and the University of Jos in Jos, Nigeria, is presently in the planning phase.

As a member of the relevant national and international associations of film archives, such as the Kinematheksverbund, FIAF (Fédération Internationale des Archives du Film) and ACE (Association des Cinémathèques Européennes), the DFF – Deutsches Filminstitut & Filmmuseum maintains intensive collaborations with all the major cinémathèques on a national, European and global level. It participates in important joint projects with numerous international partners, often taking a leading role in them, contributes to the Deutsche Digitale Bibliothek and Europeana, and undertakes collaborations with institutions such as the Goethe Institut, the Deutsche Filmakademie and many others.

Previous placements of interns:

Academy of Motion Picture Arts and Sciences: Margaret Herrick Library, Special Collections (Los Angeles)

Amazon Video: Transactional Video on Demand (Munich)

Arsenal – Institut für Film und Videokunst e.V.: Film archive, Programming, Distribution, Transfer and Edition (Berlin)

Arte: Feature Film Department (Mainz/Paris)

Berlinale, International Film Festival: Forum Expanded and Retrospective (Berlin)

Bundesarchiv: Film Archive (Berlin)

Cinémathèque Royale de Belgique: Film Archive 
(Brussels)

Daniel Zuta Filmproduktion: Research, Archive, Marketing, Public Relations (Frankfurt a.M.)

DFF – Deutsches Filminstitut & Filmmuseum: Film Archive, Non-Film Collection, Cinema, Exhibitions, Education, filmportal.de, Public Relations (Frankfurt a.M. und Wiesbaden)

EYE Film Instituut Nederland: Film Archive, Non-Film Collection (Amsterdam)

Filmhaus Nürnberg: French Film Festival (Nuremberg)

Friedrich-Wilhelm-Murnau-Stiftung: Film Archive, Restoration, Cinema (Wiesbaden)

German Films Service + Marketing GmbH (Munich)

Global Screen GmbH (Munich)

goEast – Festival of Central and Eastern European Cinema (Wiesbaden)

Hessischer Rundfunk: Redaktion Zeitgeschichte (Frankfurt a.M.)

Internationales Filmfestival Mannheim-Heidelberg

Kinothek Asta Nielsen (Frankfurt a.M.)

Kommkino (Nuremberg)

Metropolis Kino (Hamburg)

Museum of Modern Art (MMK): Collections (Frankfurt a.M.)

Österreichisches Filmmuseum: Film Literacy (Vienna)

Omnimago GmbH: Digital Transfer (Ingelheim am Rhein)

Silent Green Kulturquartier: Cultural Management, film-related (Berlin)

Südwestrundfunk (SWR): Documentation and Archive (MainzI

Taunusfilm CineNova GmbH Filmkopierwerk & Digital Lab (Wiesbaden)

The Royal Film Commission Jordan: Training, Festival, Events (Amman)

Universal Pictures International Germany GmbH (Frankfurt a.M.)

University of Washington: Moving Image Collection (Seattle)

Wim Wenders Foundation: Archive and Exhibition (Dusseldorf)

ZDF/Arte: Restoration, Events (Mainz)

Imprint

Imprint / Legal Disclosure

Information in accordance with section 5 TMG

Deutsches Filminstut – DIF e.V.
Schaumainkai 41
D-60596 Frankfurt am Main

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Ellen M. Harrington, Dr. Nikolaus Hensel

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Fax: +49-69-961 220 999
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Deutsches Filminstitut – DIF e.V.
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Ines Bayer, Sonia Campanini, Bettina Schulte Strathaus

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Mathias Bär, Karin Rekowski

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Disclaimer

Accountability for content

The contents of our pages have been created with the utmost care. However, we cannot guarantee the contents‘ accuracy, completeness or topicality. According to statutory provisions, we are furthermore responsible for our own content on these web pages. In this context, please note that we are accordingly not obliged to monitor merely the transmitted or saved information of third parties, or investigate circumstances pointing to illegal activity. Our obligations to remove or block the use of information under generally applicable laws remain unaffected by this as per §§ 8 to 10 of the Telemedia Act (TMG).

Accountability for links

Responsibility for the content of external links (to web pages of third parties) lies solely with the operators of the linked pages. No violations were evident to us at the time of linking. Should any legal infringement become known to us, we will remove the respective link immediately.

Copyright

Our web pages and their contents are subject to German copyright law. Unless expressly permitted by law (§ 44a et seq. of the copyright law), every form of utilizing, reproducing or processing works subject to copyright protection on our web pages requires the prior consent of the respective owner of the rights. Individual reproductions of a work are allowed only for private use, so must not serve either directly or indirectly for earnings. Unauthorized utilization of copyrighted works is punishable (§ 106 of the copyright law).

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