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Once a host of Brazil’s first international film festival, Cine Marrocos is now a squat. Together with its inhabitants, filmmaker Ricardo Calil goes on an audiovisual search for traces: What traces does such a festival leave behind? And how can we make them visible and reinterpret them? This article explores the question of how reenactment and remediation can be used to (re)read and (re)write existing, but also new audiovisual traces.

Streaming-Angebote sind derzeit ein allgegenwärtiges Thema, doch die aktuelle Diskussion greift dabei oft zu kurz. Dieser Beitrag betrachtet grundlegende Entwicklungen und Überlegungen in der Zugänglichmachung von digitalem Bewegtbild aus der Perspektive einer filmwissenschaftlichen und filmkulturellen Institution, dem DFF – Deutsches Filminstitut & Filmmuseum Frankfurt, und skizziert, wie sich Video Streaming als technische Kapazität in eine Strategie zur öffentlichen Vermittlung des Filmerbes fügt. Streaming services are a ubiquitous topic, yet the current discourse often appears to be rather short-sighted. Taking the viewpoint of a film heritage institution–Deutsches Filminstitut & Filmmuseum Frankfurt–this article therefore addresses essential developments and considerations regarding the public access to digital and digitized film materials. Thereby, it also illustrates how video streaming as a technological capacity might fit into a strategy of ensuring and furthering the availability of film heritage.

This publication's objective is to serve as the documentation of a graduate student symposium with the same name held in July 2017. The goal of the symposium was to discuss problems in current film culture with a focus on filmic heritage and innovative projects in the field of film education. Think Film! is a compilation of most of the talks given at the symposium. As quite often conferences or workshops are not documented, the goal of the publication is on the one hand to preserve the results for other scholars, as well as to make them accessible for the general public, and on the other hand to give the panelists a designated space to present their research. The authors discuss questions of film heritage and digitization, funding, film festivals, film museums and local film culture with a focus on the conditions in Germany, Czech Republic and India as well as relate their findings to the changes film and media studies have undergone in recent years., Michelle Rafaela Kamolz et al.: Introductory Remarks Torgil Trumpler: Why Fund Cultural Heritage? A Few Questions on Its Origins, Film Preservation, and the Role of the State Vatsala Sharma: Films from India at Film Festivals: A non-Bollywood Formula? Josephine Diecke: Robert Reinert’s OPIUM - Interrogating a Film Print Jakub Jiriste: NaFilM Film Museum Project: Upgrade for an Informal Film Education Johanna Doyé et al.: Symbiosis or Parasitism? Floating Alongside Bigger Fish: Programmkino Lichtblick e. V. Wilke Bitter: Between Haptics and Interference: The Challenging State of Documentaries

Im digitalen Zeitalter verschwimmen die institutionellen Grenzen innerhalb der Kulturlandschaft. Umso gewinnbringender wäre es, innerhalb der Kultureinrichtungen gemeinsame Handlungsfelder zu definieren und von etablierten Prozessen und vorhandenen Infrastrukturen zu profitieren. Worin bestehen die zentralen Probleme der bisher erst zaghaften Kooperation? Wie wirken sich unterschiedliche Vorstellungen über den relativ offenen Begriff Filmerbe auf die internen Strategien aus? Könnten Bibliotheken hier in bestimmten Bereichen eine leitende Rolle übernehmen, um Filmarchive zu unterstützen, ihre Bestände zu vernetzen, archivieren und durch weitere Beständen zu kontextualisieren? Ich möchte versuchen aufzuschlüsseln, welche strukturellen Besonderheiten der einzelnen Einrichtungen den Prozess stärken könnten.