Universität Wien FIND

Due to the COVID-19 pandemic, changes to courses and exams may be necessary at short notice (e.g. cancellation of on-site teaching and conversion to online exams). Register for courses/exams via u:space, find out about the current status on u:find and on the moodle learning platform. NOTE: Courses where at least one unit is on-site are currently marked "on-site" in u:find.

Further information about on-site teaching and access tests can be found at https://studieren.univie.ac.at/en/info.

170713 UE Film and archives: Stock footage and everything under the sun (2019S)

Using archival material to make your good film great.

Continuous assessment of course work

Anmeldung: Die selbstständige Anmeldung über u:space innerhalb der Anmeldephase zu Semesterbeginn ist für die Teilnahme an dieser Lehrveranstaltung verpflichtend. Eine nachträgliche Anmeldung ist nicht möglich. Die Anmeldezeiten entnehmen Sie bitte unserer Homepage unter https://spl-tfm.univie.ac.at/studium/

Anwesenheitspflicht in der ersten Einheit: Studierende, die der ersten Einheit unentschuldigt fern bleiben, verlieren ihren Platz in der Lehrveranstaltung. Studierende von der Warteliste können nachrücken.

Plagiate: Prüfungsleistungen und Prüfungszugänge, die durch das Verwenden unerlaubter Hilfsmittel oder durch absichtsvolles Plagiieren erlangt werden, werden laut Satzung der Universität Wien (§13, §74) nicht beurteilt, sondern im Sammelzeugnis untilgbar mit (X) bewertet. Dies ist auch nach bereits erfolgter Benotung rückwirkend möglich, wenn sich der Tatbestand des Plagiats erst im Nachhinein erweisen sollte. Als Plagiat gilt die absichtsvolle und undeklarierte Übernahme von fremdem geistigen Eigentum ohne Angabe der Quelle; der Begriff des Plagiats umfasst dabei wörtliche Zitate ebenso wie übersetzte Übernahmen und Paraphrasen.

Weitere Infos zum Studium finden Sie unter https://spl-tfm.univie.ac.at/



max. 30 participants
Language: English



Freitag 14.6.2019, 13:15-15:15, Seminarraum 2 H 558, UZA II, Rotunde
Samstag, 15.6.2019, 11:30-18:00, Seminarraum 2 H 558, UZA II, Rotunde
Sonntag, 16.6.2019, 11:30-18:00, Seminarraum 2 H 558, UZA II, Rotunde
Samstag, 22.6.2019, 14:30-19:00, Seminarraum 2 H 415, UZA II, Rotunde
Sonntag, 23.6.2019, 13:00-19:00, Seminarraum 2 H 558, UZA II, Rotunde


Aims, contents and method of the course

Fundamentals of becoming an American Film Detective.
A media survey course overviewing a century of films, television, radio, music and graphics and the technologies behind each form of entertainment.


What is the relationship between the various forms of mass media and the technologies that helped create them? How can we research the effects of mass media on society? Finally, how do we research media effects on society when literally millions of films, TV shows, radio shows, records and artworks have been created?

Fundamentals of becoming an American Film Detective is a course that critically examines the history and content of film, television, radio, music and advertising, the technologies behind them.

During the course, you will be given the tools to become a true film detective, able to conduct specific research on mass media, using archival media to figure out what period of time it came from and how it fits within the society it was produced within.

A number of important issues will be explored, including:

- We live in a post-industrial society in which regulation of ‘for-profit media’ is minimal at best. How do we critically analyze the discursive power of media in our lives?
- How do we analyze sub-textual messages that are inherent in much of our media?
- Media conglomerates have grown in power and size over the past 3 decades. How has this consolidation affected the content and context of media?
- How is the concept of ‘mainstreaming’ tied to the media?
- How has the ‘youth culture’ resisted mainstreaming by the media and in fact helped create new values toward ethnicity, gender and ethnicity?
- How does technology affect the content of media and its messages?
- How does the distribution and ownership of media entities affect both production and content?
- How has the shift of media ownership affected political content of messages?

The course will - over its two brief weeks - focus on motion pictures, television, radio and advertising through a combination of readings, screenings, live lectures and discussions.


The course will look at the history of media content through the use of archival material. Archival material constitutes everything that has been created up to the second you are reading this introduction. Everything. Films, TV shows, webisodes, print ads. Posters. Music. Everything. It may seem counter-intuitive, but it has nothing to do with being old.
That’s right. Just like everything in our lives, archival material is all the material that falls into the past tense. One second old. One hour old. One hundred thousand years old. It’s archival material. Because archival material contains such a huge number of sources, we will focus on how to research and find specific archival elements that will help you tell the story your research focuses on.

Our principal text is the book I just finished writing. Stock Footage + Everything Else Under the Sun will be your guidebook to unleashing your power of finding and using archival material in helping you tell the best, most powerful and interesting story.


Everywhere. Both fiction and non-fiction programs may all start with the same common denominator, a desire to tell a story about factual events, but the filmmaker has a choice of how they are going to tell that story. Will it exist only in the present tense, or will they create a story that integrates a contemporary narrative with a storyline that ties in the past? The key ingredient in this form of creating entertainment is the use of archival elements.
The great advantage of all this mate- rial is that it quickly establishes exactly at what time your story takes place, where it takes place and the environment it takes place in. It can take us back a week or centuries. It is one of the greatest tools filmmakers have available to them.

Assessment and permitted materials


Pop Quiz #1 5%
Pop Quiz #2 5%
4 Assignments. 40%
Final Exam 30%
Participation 20%

Beginning the second week, the class will break into ‘working groups’ to begin discussing the researching and writing of your research paper focusing on themes of technology, media content and society. Class members will work in small groups, each person writing a chapter on a select film that reflects a specific story involving censorship. We will review your choices and the working groups during the second day of class.

Student research reports will examine a specific story related to the media and societal issues such as ethnicity, gender and ethnicity. I will work with each of you individually, helping you explore the questions you will attempt to answer as you design and write your report.

Minimum requirements and assessment criteria

a. Live lectures.
b. Readings from assigned books.
c. Threaded discussion by students
d. Community learning. You will write a research paper/

The course will include several different technologies. These are:
Live lectures with screenings
Threaded discussions online
Student feedback during lectures
Sharing drafts of research papers.

Examination topics

Reading list


Forsher, James Stock Footage + Everything Else Under the Sun Michael Wiese Productions 2019.

Association in the course directory

Last modified: Mo 10.06.2019 18:48