Team

Eik Dödt­mann

is a schol­ar of Jew­ish stud­ies and film stud­ies, uni­ver­si­ty lec­tur­er and jour­nal­ist. He research­es and writes about Israeli his­to­ry, soci­ety and cul­ture. After his degree in Jew­ish stud­ies, film and media stud­ies and mod­ern his­to­ry in Pots­dam, Tel Aviv, Berlin and Dres­den, he com­plet­ed his PhD at the Uni­ver­si­ty of Pots­dam in 2020. He was an edi­tor and Israel cor­re­spon­dent for the Jüdis­che Zeitung in Berlin from 2005 to 2014. As a doc­u­men­tary film­mak­er, he por­trayed Pol­ish Jews in Israel who had to emi­grate from Poland as a result of the anti­se­mit­ic cam­paign of 1968. Dödt­mann has been work­ing on the project “What is Jew­ish Film?” at Film Uni­ver­si­ty Babels­berg KONRAD WOLF since 2020, build­ing a col­lec­tion of Euro­pean and Israeli-Jew­ish films, and car­ries out research on the depic­tion of ortho­dox Jews in film.

Lucy Alejandra Pizaña Pérez

stud­ied film her­itage in the mas­ters pro­gramme at Film Uni­ver­si­ty Babels­berg KONRAD WOLF and film and the­atre stud­ies in the bachelor’s pro­gramme at the Freie Uni­ver­sität Berlin. She has worked on the organ­i­sa­tion and pro­gram­ming of var­i­ous film fes­ti­vals over the years, includ­ing the Berlin Inter­na­tion­al Film Fes­ti­val (Berli­nale) and has also been involved in the organ­i­sa­tion of var­i­ous con­fer­ences, film dis­tri­b­u­tion and the DEFA foun­da­tion. She now is a research assis­tant in the junior research group “What is Jew­ish Film?” and is doing her PhD at Film Uni­ver­si­ty Babels­berg KONRAD WOLF on the sub­ject of Jew­ish film festivals.

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Johannes Praetorius-Rhein

is a film stud­ies schol­ar and soci­ol­o­gist. After study­ing the­atre, film and media stud­ies and soci­ol­o­gy in Frank­furt am Main and Brus­sels, he began work­ing on his soon-to-be com­plet­ed PhD, fund­ed by the Ernst-Lud­wig-Ehrlich Stu­di­en­werk, on the sub­ject of Artur Brauner’s Films to Stop Peo­ple For­get­ting (Filme gegen das Vergessen). He worked at the Research Cen­tre for Nation­al Social­ist Edu­ca­tion at Goethe Uni­ver­si­ty Frank­furt until 2016. Since 2017, togeth­er with Lea Wohl von Hasel­berg, he has been coor­di­nat­ing the Ger­man Research Foun­da­tion (DFG) net­work “Ger­man-Jew­ish Film His­to­ry in the FRG” (2019–2022). He has been work­ing as a research assis­tant at Goethe Uni­ver­si­ty since 2019, research­ing post-war, non-fic­tion cin­e­ma with­in the Euro­pean HERA project ViCTOR‑E..

Dr. Julia Schumacher

pri­mar­i­ly con­ducts research on the his­to­ry and aes­thet­ics of audio­vi­su­al media (film, tele­vi­sion, online video), pop­u­lar his­to­ry rep­re­sen­ta­tion and media the­o­ry in the fields of real­ism, fic­tion, doc­u­men­tary and cul­tur­al stud­ies. She stud­ied media cul­ture and phi­los­o­phy at the Uni­ver­si­ty of Ham­burg and went on to work as a research assis­tant at the Insti­tute for Media and Com­mu­ni­ca­tion. Her dis­ser­ta­tion “Real­is­mus als Pro­gramm: Egon Monk. Mod­ell ein­er Werk­bi­ografie” (Schüren 2018), com­plet­ed in 2015, was writ­ten with­in the inter­dis­ci­pli­nary Grad­u­ate School Media & Com­mu­ni­ca­tion and fund­ed by the Free and Hanseat­ic City of Hamburg’s state excel­lence ini­tia­tive and the ZEIT-Stiftung Ebe­lin und Gerd Bucerius foun­da­tion. Along­side her aca­d­e­m­ic work, she has been work­ing in the media indus­try for over 15 years, pri­mar­i­ly as a loca­tion scout and man­ag­er for inter­na­tion­al film and tele­vi­sion pro­duc­tions. She has also had reg­u­lar lec­tur­ing assign­ments, giv­ing sem­i­nars in the his­to­ry, the­o­ry and analy­sis of audio­vi­su­al media. She returned to the Insti­tute for Media and Com­mu­ni­ca­tion at the Uni­ver­si­ty of Ham­burg from 2018 to 2019 as a post-doc­tor­al research assis­tant and then worked as a lec­tur­er at the Fac­ul­ty of Arts of Rijk­suni­ver­siteit Gronin­gen in the Nether­lands until May 2020. Since June 2020, she has been work­ing as a research fel­low on the project “Between Mem­o­ry Cul­ture and Anti­semitism”, fund­ed by the Fed­er­al Min­istry of Edu­ca­tion and Research, on a sub-project about Gyu­la Trebitsch.

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Tirza Seene

com­plet­ed her BA in empir­i­cal cul­tur­al stud­ies and Jew­ish stud­ies in Tübin­gen. She stud­ied for her mas­ters degree in Judaism in His­tor­i­cal Con­text: Mod­ern Judaism and Holo­caust Stud­ies at Freie Uni­ver­sität Berlin and Touro Col­lege Berlin in 2020, com­bin­ing his­tor­i­cal Holo­caust research and Jew­ish stud­ies. Dur­ing her master’s degree, she focused on anti­se­mit­ic rep­re­sen­ta­tion on film and spent time abroad at Tel Aviv University.

Dr. Lea Wohl von Haselberg

is a film and media stud­ies schol­ar and research­es and writes about Ger­man-Jew­ish sub­jects and mem­o­ry cul­ture. After com­plet­ing a degree in theatre‑, film and media stud­ies in Frank­furt am Main, she earned her PhD on Jew­ish film char­ac­ters in West Ger­man film and tele­vi­sion in Ham­burg and Haifa. Her research is at the inter­sec­tion of Media Stud­ies and Jew­ish Stud­ies, with a focus on the depic­tion of Jew­ish top­ics in the dis­course of the Fed­er­al Repub­lic of Ger­many, Jew­ish film his­to­ry and (audio­vi­su­al) mem­o­ry cul­tures. She is an asso­ciate mem­ber of the Sel­ma Stern Cen­ter for Jew­ish Stud­ies Berlin-Bran­den­burg and co-edi­tor of the mag­a­zine Jal­ta. Posi­tio­nen zur jüdis­chen Gegen­wart.
Since Octo­ber 2017, she has been work­ing at Film Uni­ver­si­ty Babels­berg KONRAD WOLF on a research project deal­ing with the work biogra­phies of Jew­ish film­mak­ers in the Fed­er­al Repub­lic of Ger­many, fund­ed by the  Fed­er­al Min­istry of Edu­ca­tion and Research pro­gramme “Kleine Fäch­er, Große Poten­tiale”. Togeth­er with Johannes Prae­to­rius-Rhein, she coor­di­nates the Ger­man Research Foun­da­tion net­work “Ger­man-Jew­ish Film His­to­ry of the Fed­er­al Repub­lic (2019–2022) and since 2020 has been head­ing the junior research group “Jew­ish Film – What Is It?”, fund­ed by the Post­doc Net­work Bran­den­burg. She is also a mem­ber of the Jew­ish Film Fes­ti­val Berlin Bran­den­burg (JFBB) pro­gramme board.

Max­i­m­il­ian Breckwoldt

has been study­ing since 2016, first film and tele­vi­sion direc­tion in Berlin and then for a master’s degree in film her­itage at Film Uni­ver­si­ty Babels­berg KONRAD WOLF. His work focus­es on the his­to­ry of film in East/West Ger­many in the 20th cen­tu­ry in addi­tion to inter­ests in the field of dig­i­tal aes­thet­ics and film/thinking. He is cur­rent­ly prepar­ing his master’s the­sis on the top­ic of peo­ple and archi­tec­ture in the mode of implo­sive sci­ence fic­tion and is exam­in­ing the ver­sion his­to­ry of Richard Williams’ The Thief and the Cob­bler. Since 2020, he has been work­ing as a stu­dent assis­tant in the project “Between Mem­o­ry Cul­ture and Anti­semitism” (2017–2021), the DFG’s “Ger­man-Jew­ish Film His­to­ry of the FRG” net­work (2019–2022) and the research group “What is Jew­ish Film?”.