(Con)sequential Images – An archaeology of iconic film footage from the Nazi era

“（Con）sequential images”是一种文字游戏，一方面指从一系列看起来会移动的单独图像（“移动图像”）创建的电影序列。与此同时，它指的是以不同方式移动的图像，即在整个电影和媒体历史中的引用。通过与审美趋势和纪念文化的发展相互作用，这些图像经历了一个图像转换的过程。随着这一进程，这些图像不断被重新置于背景之中，重新评价和重叠，导致其意义的巩固、多样化或贬值。该研究项目的重点是纳粹时代的标志性电影序列，旨在通过考古学方法的帮助，重建和分析其物质历史以及使用和再使用的历史。从研究过程中收集的经验数据中，可以得出关于视听媒体在社会记忆中的功能和地位的宝贵结论。该项目有七个明确界定、相互依存的目标。这些目标可以被认为是原创的，因为它们填补了研究空白，并改进了目前不发达的方法。该项目的目标借鉴了基础研究以及创新的方法和途径，并重点关注有关学术界和公众互动的问题。该项目的预期目标包括：（1）纳粹时代电影图标的关系数据库，（2）这些电影图标的材料历史以及（3）它们的使用和再使用历史-（4）借助法医图像分析-（5）在跨国框架内，（6）借助视频论文对标志性电影序列进行额外的批判性处理和质疑，作为一种以研究为基础的电影制作形式，进一步发展成为一种科学方法，（7）考虑在研究阶段就把研究结果转化为教育活动，包括为研究过的电影制作可能的“评论版”。为了成功地实现这些目标，需要一个由来自不同领域的精挑细选的学者和年轻研究人员组成的小组在预计的八年时间内密切合作。我们的跨学科方法，包括电影研究，电影制作，档案科学，当代历史，艺术史，记忆研究，历史教学法/电影教育和数字人文将在一系列专门为此目的而设计的研讨会上与有能力的客人进行讨论。该项目的第二阶段侧重于将第一阶段针对个别核心材料测试的程序应用于完整的语料库。在现在广泛的数据基础上，研究问题被指定，研究结果被合成，结果被上下文化。

“(Con)sequential images” is a play on words that refers on the one hand to film sequences created from a series of individual images that appear to move (“moving images”). At the same time, it refers to images that move in a different way, namely as citations throughout film and media history. Through their interaction with aesthetic trends and developments in commemorative cultures, these images undergo a process of iconographic transformation. With this process comes the ongoing re-contextualization, re-appraisal and overlapping of the images, resulting in the consolidation, diversification or devaluation of their significance. This research project focuses on iconic film sequences from the Nazi era with the aim of reconstructing and analyzing both their material history as well as the history of their use and re-use through the aid of archeological methods. From the empirical data gathered in the course of the research, valuable conclusions can be drawn about the function and status of audiovisual media within societal memory. The project has seven clearly defined, mutually dependent goals. These goals can be considered original to the extent that they plug a research gap and refine currently underdeveloped methods. The project goals draw on fundamental research as well as innovative methods and approaches, and focus not least on questions concerning the interaction of academia and the general public. The envisaged objectives of the project include: (1) a relational database of the filmic icons of the Nazi era, (2) the material history of these filmic icons as well as (3) the history of their use and re-use – (4) aided by forensic image analysis – (5) within a transnational framework, (6) additional critical treatment and questioning of the iconic film sequences with the aid of video essays as a form of research-based filmmaking further developed into a scientific methodology, (7) consideration for the transfer of the research findings into educational activities already during the research stage, including the preparation of possible “critical editions” of the films studied. In order to achieve these goals successfully, it is necessary for a small team of handpicked scholars and young researchers from different fields to work together closely for a projected period of eight years. Our interdisciplinary approach including Film Studies, Filmmaking, Archival Science, Contemporary History, Art History, Memory Studies, History Didactics/Film Education and Digital Humanities will be discussed with competent guests in a series of workshops especially designed for this purpose. The second phase of the project focuses on applying the procedures tested in the first phase on individual core materials to the complete corpus. On a now broad data basis, research questions are specified, findings are synthesized, and results are contextualized.