Affiliation / Profession:  Professor Emily Budick, Dept. of English, The Hebrew University of Jerusalem, Israel

Research interests: American literature, Holocaust literature

Current research project: Holocaust sites, museums, art works, memorials

Latest publications:
forthcoming Indiana University Press: The Subject of Holocaust Fiction; “Double Exposure in the Absence of Verbs: Repossessing the Image of Self in H. G. Adler’s The Journey (forthcoming in H. G. Adler: Life, Literature, Legacy (Northwestern University Press)

Contact: emilyfbudick@yahoo.com

Alice Aronová is connected with film in many different ways: the topic of her diploma thesis at the Philosophical Faculty of the Charles University in Prague in 2002 was “The Reflection of Jews in Czech film”, followed by a PhD dissertation in 2007 with the topic “The Jewish theme in Czech television production”. She is active as a programmer (film festivals, special film events in art cinemas), editor (Czech Television, Czech Radio), jury member of the Short film competition organised by Goethe Institut Prag, Ekofilm festival in Český Krumlov, Czech film critics’s award and The Czech Lion Awards – The film Critic’s award.

She is also active as a reviewer and critic (the program Mozaika in Czech Radio), as a lecturer (lectures about Jewish motives in Czech film for the Jewish Museum in Prague 2004-2005), moderator (One World festival, Das Filmfest, discussions and introductions to screened films). Currently she works as a lecturer at the Art Campus Prague (History of Czech and International film) and is responsible for PR of CinemArt and art cinemas Atlas and Evald in Prague.

His graduation film Naučit se bát/ Learning to Fear, which looked at  the lives of young doctors received a whole range of awards and determined one of the main directions of his filmmaking.
In 1990, he started a long series of political documentaries from the countries of the former Soviet block awarded at numerous festivals: Japan Prix for Země bez hrobů (The Land without Graves), Prix Italia for Pozdrav ze země, kde včera znamenalo zítra ( Greetings from the Country Where Yesterday Meant Tomorrow) and others.
He filmed in Romania, Albania, various parts of the former Soviet Union, Kosovo, Nagorno-Karabakh, China, South Africa, Israel and many other places of political conflict. In 1995, Štingl launched his own production company K2 through which he produced several documentary series and a number of extensive coproduction documentaries.
Among the most extensive are historical accounts of the twentieth century: Deník pana Pfitznera (The Diary of Mr. Pfitzner); Čtyři páry bot (Four Pairs of Shoes); Příběh trosečníků Patrie (The Survivors of the Shipwrecked Patria), film of the year at FIAT/IFTA; Příběh o zlém snu (A Story About a Bad Dream), MTF Japan Award.
His films were screened at numerous international as well as domestic festivals, receiving a number of awards. K2’s largest projects include the feature-length film Mír jejich duši ( Peace to their Souls) and the extensive multimedia exposition of the new museum at the memorial of the town of Lidice, burned to the ground by the Nazis, A nevinní byli vini (And the Innocent Were Guilty), to become the most modern exposition on war history in the Czech Republic.

Filmography:

Naučit se bát/ Learning to Fear (20´, Czechoslovakia, 1985) Romania Libera (Czechoslovakia/Romania, 1990) Země bez hrobů (Czechoslovakia, 1991) Slzy vítězství Albánie (Czechoslovakia /Albany, 1991) Studentská láska (Czechoslovakia /Albany, 1991) Pozdrav ze země, kde včera znamenalo zítra (CZ/Russia, 1993) Quo Vadis South Africa…? (CZ, 1994) Světová válka v nás (39´, CZ, 1994) Takoví jsme byli (CZ, 1996) Čtyři páry bot (50´, CZ, 1996) Příběh trosečníku Patrie (51´, CZ, 1997) Kámen a poznání (59´, CZ, 1998) Deník pana Pfitznera (89´, CZ, 1998) Jen jeden pokus se životem (39´, CZ, 1999) Zaniklý svět Karla Pecky (50´, CZ, 2000) O zlém snu (50´, CZ, 2000) Selhání (55´, CZ, 2000) Chaos (CZ, 2001) Druhý život Lidic/ The Second Life of Lidice (58´, CZ, 2002) Návrat zapadlých vlastenců (58´, CZ, 2003) Malování potmě (56´, CZ, 2003) Mír jejich duši (80´, CZ, 2004) Popis jednoho zápasu (72´, CZ, 2004) Jára Cimrman (36´, CZ, 2005) Divadlo bláznivých dramat Borise Rösnera (56´, CZ, 2006) Suchá hora, dědina na konci trati (52´, CZ, 2007) Ghetto jménem Baluty (89´, CZ, 2008) Cesta k cestě (56´, CZ, 2009) Eugéniové (2013)

Affiliation / Profession:  Leslie Swift, MA, has worked at the United States Holocaust Memorial Museum for more than 15 years. She currently holds the title of Film Researcher in the Steven Spielberg Film and Video Archive of the United States Holocaust Memorial Museum. She worked for many years in the Photo Archives of the USHMM and thus has a comprehensive knowledge of the visual history of the Holocaust, including prewar Jewish life, wartime footage, and immediate postwar subjects such as liberation, life in displaced persons’ camps, and war crimes trials.

 Research interests: Unique amateur footage related to the Holocaust including: prewar Jewish life, American amateur films that record the early stages of the Holocaust, amateur footage of liberation, and amateur footage of Displaced Persons’ camps.

Current research project:  Work with individual donors and film archives to compile a comprehensive collection of Holocaust-related footage.

Latest publications: Film compilations including:  Three part edited series of unique USHMM-owned amateur films titled:  Jewish Life before World War II; Inside Nazi Germany; Liberation and Return to Life [TRT 60 minutes] Shoah:  Unseen Interviews [TRT 54 minutes]; Europe on the Brink of War:  the Baker and Bryan Film Collections; “Yes there was a World: Prewar Jewish Life on Film” upcoming in Amateur Film Archaeology, the first German-language anthology devoted to the topic of amateur films.

Contact:  

Leslie Swift,  United States Holocaust Memorial Museum

100 Raoul Wallenberg Place, SW

Washington DC 20024

lswift@ushmm.org, tel:  (202) 488-6153

Affiliation / Profession:  film archivist

Research interests: history of film and art

Current research project: filming in Terezín

Latest publications:

The Dodals. Pioneers of Czech Animated film (Published by the National Film Archive and the Academy  of Performing Arts in Prague /AMU Press/, 2013);

Truth and Lies. Filming in the Terezín ghetto  1942-1945 (Exhibition and DVD; JMP and NFA , 2013-1014, Praha, Terezín)

Contact: struskova@email.cz 

Affiliation / Profession: Lives in Hamburg as a free lance author, film-maker and curator. Has lectured at the Art Schools in Hamburg, Dresden and Potsdam, and the Universities of Hamburg, Bochum, Zurich and Vienna.

Research interests: Soviet Avant-garde, political documentaries, “Essayfilm”.  Re-education films, films on architecture and archeology.

Current research project: research project of the Deutsche Forschungsgemeinschaft: Werben für Europa – Europafilme und europäische Öffentlichkeitsarbeit«

Convener of the conference  “Bildpolitiken 1945: Die Filme über die Befreiung der Konzentrationslager” 15-18/1/2015, Hamburg, Gästehaus der Universität and Metropolis-Kino.

 Latest publications:

Films (selection):
In the Land of Cinema Veterans: A Film Expedition Around Dziga Vertov(D 1996, 66’)

Hafenstrasse im Fluss(2010, 87’)

The Great Game: Archeology and Politics(D 2011, 22’)

Editor / Author of:

»Johan van der Keuken: Abenteuer eines Auges« (1987; 2nd editon 1992, co-editors: Jutta Hercher, Gerd Roscher, Theo Janssen)

»Chris Marker – Filmessayist« (1997, co-author: Birgit Kämper)

»Dziga Vertov: Tagebücher / Arbeitshefte« (2000, co-editor: Alexandra Gramatke).

»Dziga Vertov: The Vertov Collection at the Austrian Film Museum« (2006, co-editor: Barbara Wurm).

»Viva Fotofilm! Bewegt / unbewegt« (20010, co-editors: Katja Pratschke, Gusztáv Hámos).

»Der Essayfilm. Ästhetik und Aktualität« (2011, co-editor: Sven Kramer).

»bauhaus & film« (Maske und Kothurn 1+2/2011)

Affiliation / Profession: Head of special collections, research, and information in National Film Archive Prague

Research interests: History of Czech and German cinematography (esp. film institutions), production studies, economic history of film, local film history, Czech-German film relations, Nazi film and cultural policy in Protectorate Bohemia and Moravia and in other occupied areas of Europe. Contemporary film practice and film (cultural) policy, history of Czech film production and producers.

Current research project: Bohemian-Moravian Film Chamber (1941-1945)

Latest publications:

Elmar Klos a zestátnění československé kinematografie. In: Jan Lukeš (ed.): Černobílý snář Elmara Klose. Praha: Národní filmový archiv 2011, 51-67.

Česká kinematografie v průniku totalit. Dis-/kontinuita vývoje českého poválečného filmu.In: Od svobody k nesvobodě 1945-1956. Praha: Vojenský historický ústav 2011, 38-47.

Marriages (not only) of convenience: history in Czech Television & television in Czech history. In: Pierre Sorlin et al: History on television in seven Eastern European countries. La Storia in televisione in sette paesi dell´Europa dell´Est. Bologna: Istituto Storico Parri Emilia-Romagna 2010, 65-92 /71-100/.

Českomoravské filmové ústředí jako ambivalentní pilíř protektorátní kinematografie. In: Protektorát v sociokulturních souvislostech. Hradec Králové: Univerzita HK 2009, 43–67.

Marketa Lazarová v zrcadle produkčních dokumentů Filmového studia Barrandov. In: Marketa Lazarová. Studie a dokumenty. Praha: CASABLANCA – Václav Žák 2009, 51–75.

Třináct minut protektorátní idyly. Reportáž z Filmových žní 1941 a co v ní není. In: Film a dějiny 2. Adolf Hitler a ti druzí – filmové obrazy zla. Praha: Casablanca – ÚSTR 2009, 174–1845.

Klasifikace audiovizuálních produktů podle věkových hranic v zemích Evropské unie.Praha: CEMES FSV UK 2009, 33 s. /research study for Ministry of Culture, co-author David Czesany/.

Koncepce klasifikace audiovizuálních produktů podle věkových skupin. Závěrečná zpráva o řešení projektu.Praha: CEMES FSV UK 2009, 83 s. /final research study for Ministry of Culture, co-author prof. Jan Jirák/.

Prag-Film AG 1941-1945. Im Spannungsfeld zwischen Protektorats- und Reichs-Kinematografie.Muenchen: edition text + kritik 2008, 212 pages /introduction by doc. PhDr. Ivan Klimeš/.

Im Prager Spannungsfeld. Machtstrukturen der Kinematografie im Protektorat Böhmen und Mähren. In: Johannes Roschlau (ed.): Zwischen Barrandov und Babelberg. Deutsch-tschechische Filmbeziehungen im 20.Jahrhundert. Muenchen: edition text + kritik 2008, 84-93.

Contact: tereza.dvorakova@nfa.cz

Affiliation / Profession: Reader (Associate Professor) in Russian Culture and Film, Queen Mary University of London

Research interests: Russian and Soviet Documentary Film; Representation of World War Two and the Holocaust in Soviet Film

Current research project: 

Iconic Images: The Making and Shaping of Soviet Memory of WWII through Images

Latest publications: 

First Films of the Holocaust: Soviet Cinema and the Genocide of the Jews, 1938-46 (Pittsburgh: University of Pittsburgh Press, 2012)

Contact: e-mail j.g.hicks@qmul.ac.uk

Affiliation/Profession: Dr.phil, Professor of Germanic and Slavic Philology in Center for Russian and East European Studies (University of Michigan), Frankel Center for Judaic Studies, Slavic Languages & Literatures

Research interests: Slavic linguistics and Czech literature

Current research project: 

Latest publications:
Foto/montáž tiskem – Photo/Montage in Print. Praha: Kant. (The Modern Czech Book, 2.)
380 pp.
Conditions of Inclusion: Bohemia’s Jews and their Nineteenth Century
2012.
Clean Books: Abstract and Functional Book Design in Interwar Czechoslovakia. Prague:
Kant, in preparation. (The Modern Czech Book, 4.)

Contact: ptydepe@umich.edu

Affiliation / Profession: Dr. phil., Professor of Film and Media Studies at the University of Konstanz. From October 2014 on Professor of Film Research and Education at the Filmuniversität Babelsberg „Konrad Wolf“ as well as Director of the Filmmuseum Potsdam.

Research interests: Aesthetics and History of Film, Film Censorship, Theory of the Cinematic Space, Film Narratology, Aesthetics of Documentary Film, Cinema and Cultural Memory, Problems and Methods of Critical Film Edition

Current research project: Since 2012 (with K. Hoffmann and Th. Weber) co-leader of the long-term research project „History of Documentary Film in Germany 1945-2005“, financed by Deutsche Forschungsgemeinschaft (DFG) and member of the DFG Research Network „Cinema as an Experience Space“.

Latest publications:
Mediale Transformationen des Holocausts(Ed., with Th. Weber). Berlin 2014 (2nd edition).
Der geteilte Himmel (The Divided Heaven, GDR 1964, Konrad Wolf). In: Joseph Garncarz, Annemone Ligensa (Eds.): 24 Frames.The Cinema of Germany. London/NewYork: Wallflower2012, pp. 149-158.
„Referenz und Imagination im Dokumentarfilm“. In: J. Hanich/ H.J. Wulff (Eds.): Auslassen Andeuten Auffüllen. Der Film und die Imagination des Zuschauers. München 2012, pp. 161-180.
„Historisch-kritische Filmedition. Ein interdisziplinäres Szenario“. In: Editio 27/2013, pp. 15-37.

Contact: ursula.von-keitz@uni-konstanz.de