In film-mediated films, artistic found-footage works and (for some years now) video essays published online, films are viewed in a way that goes far beyond the boundaries of traditional textual analysis. The workshop offers an overview of the history and forms of audiovisual film analysis. At the same time, possible applications of video essays in film education will be discussed.
Michael Baute (Berlin) / Entuziazm - Friends of the Mediation of Film and Text e. V.

Since the early days of cinema, childhood has been a recurring theme in film theory and cinephile discourse. A broad spectrum of questions is touched upon: the effect of films in childhood, the representation of children in films, but also the specific mediality and aesthetics of film. This complex context is outlined in its theoretical dimensions and discussed using a research project on film reception in French film education projects as an example.
Perrine Boutin (Paris) / Bettina Henzler (Bremen)

The establishment and differentiation of the autonomous education and training system in the modern age is closely linked to the scriptural culture and the media of the "Gutenberg galaxy", such as the reading primer and the book. But even with the emergence of the new media of the 20th century, such as film and television, as well as the digital media of the computer age, the media of writing and text continue to be present in the media landscape and in educational institutions in a variety of ways (for example in Web 2.0, in the wiki, podcast and blog culture).
Yvonne Ehrenspeck (Oldenburg)

Between 1925 and 1935, extraordinary things happened in various European countries: alternative film clubs experienced unprecedented popularity, film theory emerged on a broad front, film archives were founded and film schools began to operate. In the context of the European avant-garde movement, cinema thus became both a subject and an object of education. This lecture will outline some of the contexts that led to this remarkable development.
Malte Hagener (Marburg)

Based on ongoing research projects, the lecture presents experiences with the use of so-called ephemeral films (amateur films, advertising films, found footage) in various forums such as cinema screenings, website presentations or within school projects. The systematic viewing, research and presentation of such films is based on two assumptions: the higher probability of "realistic" or a-significant types of images and the invitation to the audience to form their own syntheses. The critical potential of such films is available to sharpen the sense of the plurality of historical times in the sense of Reinhart Koselleck.
Siegfried Mattl (Vienna)

Film history tells the story of film. Film mediation has a history. Alain Bergala's "cinema as art" approach can be traced back to Schiller. His aesthetic education reacts to history, the experience of violence in the French Revolution. The mediation of history takes place in the media. Hayden White describes historiography as a poetological process. Applied to film, this criticism extends to cinematic, iconological and sonificatory aspects. Based on this inventory, a triangular relationship between film - history - mediation can be outlined.
Winfried Pauleit (Bremen)

Universities are geared towards permanent reform. They are constantly busy developing and reorganising degree programmes, modules and various projects. Even the newly founded campus universities of the 1960s called themselves reform universities: It was all about interdisciplinarity between subjects, flexibility in educational biographies, and above all communication, the magic word of the time. The architecture also bears witness to this: overpasses connect Institutes, corridors form crossroads and junctions, an inner courtyard opens up here, a building could be added there. Today's unloved buildings are still standing - what remains of the reform? How is the connection between architecture and educational concepts to be thought of?
Kathrin Peters (Oldenburg)

Historically, the introduction of new media has always been associated with ghost phenomena. With the spread of a new medium, the culturally coded relationships between bodies and signs, senders and recipients, presence and absence change. This also changes social contexts. Media-occult practices were therefore often linked to processes of empowerment: Socially marginalised actors were able to raise their own voices by means of a form of (ghost) communication. Against this background, the project "Spook Insurance" attempts to implement a playful approach to local ghosts in four Hamburg schools.
Sibylle Peters (Hamburg)

For Schiller and Hegel, art was the first teacher of the people; for Deleuze, cinema replaces poetry as the first teacher among the arts. Film and, above all, the new so-called quality television series are well suited as educational media due to their length and complexity. The series "Breaking Bad" also raises the long overdue question: Is there actually an education for evil? And how does it happen under modern conditions of ambivalence?
Olaf Sanders (Cologne)

Pedagogy follows the concept of linearity not only because of its main medium, the book. A linear sequence between teachers, content and learners is also evident in its didactic concepts. The leading medium of this concept is the teaching primer. "Pictures" have a precarious status in book culture as well as in the traditional didactics of primers; they are generally regarded as "pedagogically worthless". Taking Leon Battista Alberti as a starting point, the lecture will follow a trail that leads to current game consoles and could open up a contemporary approach to the educational potential of "images".
Sebastian Schädler (Berlin)

Normally, film archives are only open to professional film workers. Taking children to the archive means giving them access to a terrain that is unexplored at school. Through direct contact with the material, children discover film history in an affective way. In the archive, they can also select films to view, shifting the focus of film education away from a curated film programme and towards a selection of films that follows the children's curiosity. The lecture explores questions of curating and mediating in the film archive.
Stefanie Schlüter (Berlin) / Entuziazm - Friends of the Mediation of Film and Text e. V.

Visual art is not a medium, but it uses the media to ..., to what? How art does that which must first be agreed upon is in any case media-analytical, i.e. necessarily self-reflective. That alone has a formative effect. How this circumstance is to be thought of is examined using examples.
Eva Sturm (Oldenburg)

Early media theory and cybernetics presented various concepts of media learning worlds and virtually diagnosed the end of school and education. The lecture aims to show that a comprehensive concept of learning is already emerging here, which anticipates the holistic learning concepts of the media society (especially lifelong learning): Marshall McLuhan already spoke of the need to learn nothing less than life in times of automation. Since its beginnings, media theory has therefore been a theory of learning.
Anna Tuschling (Bochum)

There are a large number of films that refer to the history, technique and aesthetics of film in a reflexive gesture. These films can be understood as film-mediated. The list of film-mediated films then ranges from documentary forms to DVD features and artistic video works. My lecture concentrates on experimental film and uses a few examples to explore the questions of how experimental films convey film and how they can be used in film education / film didactics; in particular in film education that is interested in the aesthetic education of its addressees.
Manuel Zahn (Hamburg)