Dr. Tobias Ebbrecht Hartmann

Tobias Ebbrecht-Hartmann is the incumbent of the Cardinal Franz König Chair in Austrian Studies and Lecturer of German- and Film Studies at the DAAD Center for German Studies and in the Department of Communication and Journalism. His fields of research, teaching and publication are German postwar social, cultural and film history with a special focus on Cultural Memory of Terrorism, German Visual History, Israeli-German Cultural Relations and the Preservation of Audio-Visual Cultural Heritage.

He holds his PhD from the Free University in Berlin where he also graduated in Film Studies, New German Literature and Political Science. From 2004 to 2010 he was research and teaching assistant in the field of media history at the Film University Babelsberg KONRAD WOLF in Potsdam. After defending his doctoral thesis on cinematic narration of the Holocaust in 2010 he was research assistant and postdoctoral fellow in the Graduate Research Program “Media of History – History of Media” at the Bauhaus University of Weimar. In 2012 he was awarded a fellowship of the International Institute for Holocaust Research Yad Vashem in Jerusalem. From 2013 to 2014 he was head of a research project on East German Student Films based at the Film University Babelsberg KONRAD WOLF and funded by the German Research Foundation.

Ebbrecht-Hartmann is author of three German monographs on cinematic narration of the Holocaust, German-Israeli film history and the filmmaker Romuald Karmakar; co-editor of "Docudrama on European Television: a Selective Survey" (2016) and three German anthologies on emotions and film perception, East German documentary cinema and contemporary German cinema; and contributed numerously to journals, collections and online-publications in German, English, French and Hebrew.

Research Interests
  • (Post-war) German Social History; Film History; Visual History
  • Protest Movements and Terrorism
  • Migration, Transnational Cultural Encounters and European Cinema
  • Memory Culture and Cinematic Remembrance of the Holocaust
  • German-Israeli Cultural Relations and Audio-Visual Heritage
  • European Docudrama, Media and Identity
Contact Information

Email: tobias.ebbrecht-hartmann@mail.huji.ac.il

Tel: +972-2-5881329
Fax: +972-2-5881969

Academic CV

Academic CV

Since August 2014: Lecturer of German & Film Studies at the DAAD Center for German Studies and the Department of Communication & Journalism at the Hebrew University Jerusalem.

April 2013-July 2014: Research assistant at the DFG-Research Project "Regional Film Culture in Brandenburg" at the Film University Babelsberg KONRAD WOLF in Potsdam conducting research on student film in the GDR.

Oct. 2012-Jan. 2013: Research Fellow at the International Institute for Holocaust Research Yad Vashem, Jerusalem.

Nov. 2010-Oct. 2012: Postdoctoral Research Fellow at the interdisciplinary Ph. D. program "Media of History - History of Media" at the Universities Weimar, Erfurt and Jena.

Oct. 2010-Jan. 2011: Guest Lecturer in Film and Media Studies at the Department for Theatre, Film, and Media Studies at the University of Vienna.

April 2010: Dr. phil., Department for Film Studies, Freie University of Berlin. Supervisors: Prof. Dr. Gertrud Koch, FU Berlin; Prof. Dr. Mihal Friedman, Tel Aviv University).

Oct. 2008-Jan. 2009: Guest Lecturer in Film and Media Studies at the Department for Theatre, Film, and Media Studies at the University of Vienna.

Oct. 2004-Oct. 2010: Teaching Assistant in Media- and Film History at the Film University Babelsberg KONRAD WOLF in Potsdam-Babelsberg.

December 2003: Magister Filmwissenschaft (Master of Arts). Department for Film Studies, Freie University of Berlin; Major: Filmwissenschaft (Film & Media Studies; Double minor: German Studies/New German Literature, Political Science/

April 2000-Dec. 2003: Studies in Film & Media Studies, New German Literature and Political Science at the Freie University of Berlin/

April 1999-March 2000: Research assistant at the DFG-research project on »German television plays in the East and the West« at the University of Marburg.

April 1997-March 2000: Studies in New German Literature and Media (Literary Studies/Linguistics/Media Studies) and Political Science at the University of Marburg.




German Postwar Visual History in a European Framework

Within the interdisciplinary field of German Studies, visual culture constitutes an important and increasing field of teaching and research especially when confronted with the exploration of German society and culture from abroad. On the one hand, photographs, cinema and television fundamentally shape the perception of the country and its people and thus provide a source for its imaginary perception especially for those looking from a distant perspective. Thus, iconic news photographs or historic images from German history can serve as visual substitutes for personal experiences. On the other hand, certain cultural codes are often communicated through audiovisual media or visual imagery that effectively shape collective historical consciousness as well as the perception and understanding of present conflicts and political challenges. Therefore the examination of images that circulate through films, television, media, books, and exhibitions is a crucial aspect of studying contemporary Germany and its postwar history, especially from a non-German, in our case Israeli, perspective. In 2016/17 the CGS Group Research on German Postwar Visual History focusses on "Mobile Frames, Migrating Images, Dynamic Archives - Historical Resonances in German and European Visual Culture and Memory."


Terrorism and Political Violence in Public Memory and Visual Culture

The research intends to delineate resonances of violence in public memory and visual culture, which interrelate different forms of protest and political violence. It intends to describe, mainly within a European, German and Israeli framework, repeating reference and memory frames that create such resonating correlation between radical left, far right and Islamist terrorism.


European Docudrama

Docudrama became ubiquitous in television cultures throughout Western Europe during the latter part of the twentieth century, and following the Fall of the Berlin Wall in 1989 it began to manifest itself in Eastern Europe too. Now, in the early twenty-first century, it has established a respectability – indeed, a centrality – within the hybrid spectrum of fact/fiction television practices that would have been unthinkable previously. This project conducted with Derek Paget (University of Reading) and other colleagues from European universities seeks to explain why this genre has become so important in selected modern European contexts. As a first publication Docudrama on European Television: a Selective Survey (Palgrave 2016) offers case studies from Germany, Poland, Spain, France, Italy and Sweden.


Traveling Memories: European Memory, the Holocaust, and Cinema

The proposed research project is situated in an interdisciplinary field of memory studies and transnational cinema studies. Its broader context is the “Europeanization of memory”. Contemporary political and historical discourses about European identity and memory tend to tie unified Europe to the lessons of its catastrophic 20th century history. Therefore the research study’s aim is to analyze current European and Israeli films dealing with the Holocaust in a transnational perspective, which were produced to address broader national as well as transnational audiences, regarding their narrative structure, visible iconography, intertextual references. Furthermore transnational aesthetics, production and reception contexts will be taken into account. Thereby the study is interlinking cinema, media and memory studies in transnational comparison and providing a transnational case study about audiovisual media’s influence on depicting, perceiving and processing the past.


German-Israeli Encounters in Film and Television

The relations between Israelis and Germans have been formed and transformed through various encounters in various spheres. These encounters have occurred before, alongside and, at times, despite the diplomatic relations between Israel and Germany. This research intends to review various attempts to envision such encounters in film and television productions made in the Land of Israel and in Germany from the 1930s to the present and to  highlight the vital roles of German-Israeli co-productions in the constitution of the visual imagery of these encounters. This ongoing research informed my recent German publication "Übergänge – Passagen durch eine deutsch-israelische Filmgeschichte" (Berlin 2014)

VHH - Visual History of the Holocaust: Rethinking Curation in the Digital Age


Digital Curation: Visual History of the Holocaust

The international research project Visual History of the Holocaust – Rethinking Curation in the Digital Age will utilize digital technologies to analyze and re-interpret filmic representations of the Holocaust.

How do we digitally curate filmic records that bear witness to the darkest chapter in recent European history? This question is in the center of a new research project funded by the European Union and partly residing at the Hebrew University of Jerusalem.

The Holocaust has been a central reference point for European history and a ‘negative founding myth’ of European integration. Nowadays, digital technologies and the Internet have profoundly transformed the concepts of history and visual evidence. Thus, the question of its representation becomes more pertinent.

The Hebrew University is part of a consortium consisting of 13 Austrian, German, Israeli and French research institutions, museums, memorial sites, and technology developers that together with American partners will develop models and applications to respond to this challenge. The project Visual History of the Holocaust: Rethinking Curation in the Digital Age was awarded €5 million in funding through the European Union‘s Horizon 2020 program. It was ranked first in a competitive field of 37 proposals. It commenced in January 2019 and runs for four years. The joint efforts of the international consortium are coordinated by the Ludwig Boltzmann Institute for History and Society (Vienna), in close collaboration with the Austrian Film Museum (Vienna).

Background and Objectives

Visual History of the Holocaust: Rethinking Curation in the Digital Age explores the potentials as well as the limitations of digital technologies in the ongoing effort to preserve, analyze and communicate historical evidence of the Holocaust, and in particular audiovisual records. The project focuses on film footage produced by Allied forces and relating to the discovery of Nazi concentration camps and other atrocity sites. Although these films only capture a certain aspect of the Holocaust, some of their images have become canonical. Due to the scarcity of visual records, a few images have significantly shaped collective visual memory of the Holocaust. These images extensively migrated into popular culture, in most cases appropriated in decontextualized ways.

In the course of the project, the historical films, which currently are dispersed across archival institutions in the US, Great Britain, Russia, and other former Soviet Republics, will be aggregated, digitized, analyzed and annotated. However, the aim of the project Visual History of the Holocaust is to not only preserve the footage and develop new ways of analyzing and annotating these historical images in the digital age. Furthermore, we are looking for strategies to interrelate the footage with other sources and establish virtual environments that create a resonating space for the participatory and interactive curation of visual Holocaust memory. The resulting digital repository will allow users to dynamically link film images with photographs, text-based documents and oral histories, as well as with images from subsequent cinematic representations of the Holocaust.

Vision and Implementation

The visual representation of the Holocaust has been a contested issue for artists, historians, educators and curators for decades. In an age of apparently endless possibilities to alter and manipulate digital images, questions of authenticity and appropriate use of technology become even more relevant. While Visual History of the Holocaust deals with specific films and historical events, it raises more general questions on what ‘digital curation’ entails.

On that account, the project will make groundbreaking use of existing and emerging technologies, including advanced digitization, automated analysis of images and text, time-based annotation and location-based services. The aim of the project is to establish new contexts of meaning to be explored in history, film and media studies, cultural studies and computer science. Based on this technology-enabled research, new communication strategies will be developed for memorials, museums, and educational institutions. Correspondingly, a number of memorial institutions support the project, three of them being part of the consortium: Dachau Concentration Camp Memorial Site, Mauthausen Memorial, and Bergen-Belsen Memorial.

The Jerusalem project team will focus especially on the migration and circulation of liberation footage in popular culture and develop new and innovative ways of digital curating and analyzing visual memory of the Holocaust as presented in films, online exhibitions and visual arts.

Project Consortium

  • Ludwig Boltzmann Institute for History and Society (AT), Coordinator
  • Austrian Film Museum (AT)
  • TU Wien (AT)
  • max.recall information systems Gmbh (AT)
  • rtd services OG (AT)
  • Mauthausen Memorial (AT)
  • Justus Liebig University Giessen (DE)
  • University of Bremen (DE)
  • Deutsches Filminstitut (DE)
  • Stiftung Bayerische Gedenkstätten – Dachau Concentration Camp Memorial Site (DE)
  • Stiftung niedersächsische Gedenkstätten – Bergen-Belsen Memorial (DE)
  • Centre National de la Recherche Scientifique (FR)
  • The Hebrew University of Jerusalem (IL)

Associated Partners

  • National Archives and Records Administration (USA)
  • United States Holocaust Memorial Museum (USA)

Jerusalem Project Team


VHH Tobias Ebbrecht-Hartmann


Principle Investigator:

Dr. Tobias Ebbrecht-Hartmann, Cardinal Franz König Chair in Austrian Studies and Lecturer for Visual Culture, Film and German Studies at the Department of Communication and Journalism and in the European Forum at the Hebrew University of Jerusalem.

Contact: Dr. Tobias Ebbrecht-Hartmann, tobias.ebbrecht-hartmann@mail.huji.ac.il


Selected Conference Presentations

Selected Conference Presentations


July 2016:

Paper at the Conference “A Hundred Years of Film Theory: Münsterberg and Beyond” at the University of Leipzig on “Cinema – Memory – Witnessing: Implications of Hugo Münsterberg's Writings for Media Memory”

Paper at the Conference “Documentary Cinema: Between Art and Politics” in Jerusalem on “Crisis and Encounters: the In/Visible and the Political in Documentary Films”

June 2016:

Paper at the Conference “Strangers to Ourselves” at the Tel Aviv University on “Blurred Enemy Lines: False Identities, Imitation and Reconstruction in Phoenix (2014) and Black Book (2006)”

Paper at the Association of Israel Studies Conference in Jerusalem on “The Gaze and the Place: Cinematic Encounters with the Land of Israel and the Ambiguity of In-Between”


May 2016:

Paper at the Conference “Writing Visual History” at the Hebrew University of Jerusalem on “From Trophy to Evidence – Jerusalem 1961, a Trial as Film”

Papers at the Conference “Ethics, Culture and History: New Media, Communication Technology, Visual Culture and Cinema” at the Hebrew University of Jerusalem on “Through the Lens / Facing the Screen: Appropriating an Amateur Film from 1941” and “Resonating Trauma - Entebbe 1976: Memory Frames and Memory Conflicts”


March 2016:

Paper at the Conference “New Research on East Germany” at the University of Wisconsin, Madison on “Visual Historiography from the Margins: How Films Participate in Writing GDR History”


January 2016:

Paper at the Symposium “Thomas Harlan: Leben und Werk” at the Zentrum für Medienwissenschaften Potsdam on “Aufenthalt in etwas Unmöglichem: Splitter und Spuren einer Reise nach Israel (1953)”


December 2015:

Paper at the International Walter Benjamin Conference in Tel Aviv/Jerusalem on “Inhabiting the Inter-Space: Walter Benjamin’s Porous Places as Room-for-Play”

Paper at the international conference “The Relevance of Regions and Area Studies in a Globalized World” at the Hebrew University Jerusalem on “European Docudrama between Global and National Television Cultures”


November 2015:                

Paper at the conference “Le Regard du Siècle. Claude Lanzmann zum 90. Geburtstag” at the Freie Universität Berlin on “Tsahal (1994): Zwischen Shoah und Sobibor”.


October 2015:

Paper at the German Studies Association Conference in Washington, DC on “Archival Time and the Time of Memory: Claude Lanzmann’s The Last of the Unjust and the Archive”.


June 2015:

Paper at the NECS 2015 Conference “Archives of/for the Future” at the University of Lodz on “Trophy, Evidence, Document: A Journey from Atrocity to Archive”.


May 2015:

Paper at the Workshop “Land, Lens, Violence” at the Ludwig Boltzmann Institute Vienna on “War, Terror and Violence in Contemporary Israeli Cinema”.


April 2015:

Paper at the Workshop “Archiving Presence: From Analog to Digital” at the Hebrew University Jerusalem on “Echoes from the Archive: Accessing the Archive through Film”.


March 2015:

Paper at the Workshop “Popular Culture and International Conflicts” at the Hebrew University on “Popular Television, Transnational Media, and Conflicting European Memories: The Case of teamWorx' TV Docudrama”.

Paper at the International Conference “50 Year of German-Israeli Relations” at the Hebrew University on “Crossing Borders: Four Cinematic Journeys between Germany and Israel”.


June 2014:

Paper at the Conference "Cinematic Traces of Things to Come" at the Tel Aviv University on "Collecting Material for the Future: Thomas Heise’s Dialogue between the Present and the Future".


March 2014:

Paper at the Conference "Crossing the Disciplinary Divide: Conjunctions in German and Holocaust Studies" at the Washington University in St. Louis on "The Berlin-Street as Cinematic Memorial Place".


Nov. 2013:

Paper at the Conference "The Triumph of Nazi Cinema: 1933-2013" at the Hebrew University of Jerusalem on "Goebbels' Fear and Legacy: Babelsberg and the Nazi Heritage".


June 2013:

Paper at the Conference "Beyond Evidence - The Documentary in Art" at the ICI Berlin on " Meta-Cinematic Practices of Re-Presentation and Transformation of Historic Material".


November 2012:

Paper at the international conference "Digital Testimony Collections about Nazi Persecution" organized by EVZ and FU Berlin on "Whose emotion? Feelings of Uncertainty and Disturbance in encountering Holocaust Survivors’ testimonies"

Selected Scientific Publications

Selected Scientific Publications



Übergänge: Passagen durch eine deutsch-israelische Filmgeschichte [Transitions: Passages through a German-Israeli history of cinema], Berlin: neofelis, 2014.
Online: https://www.neofelis-verlag.de/film/uebergaenge/

Geschichtsbilder im medialen Gedächtnis: Filmische Narrationen des Holocaust [Images of the Past in Media Memory: Cinematic Narrations of the Holocaust], Bielefeld: transcript, 2011.

Bilder hinter den Worten: Über Romuald Karmakar [Images beyond Words: On Romuald Karmakar], Berlin: Verbrecher Verlag, 2010.



[With Derek Paget] Docudrama on European Television: A Selective Survey, Basingstoke: Palgrave Macmillan, 2016.
Online: http://www.palgrave.com/gp/book/9781137499783

[With Thomas Schick] Kino in Bewegung: Perspektiven des deutschen Gegenwartsfilms [Cinema in Transition: Perspectives of German Contemporary Cinema], Wiesbaden: VS Verlag, 2011.

[With Hilde Hoffmann and Jörg Schweinitz] DDR erinnern, vergessen: Das visuelle Gedächtnis des Dokumentarfilms [Remembering/Forgetting the GDR: The Visual Memory of Documentary Film], Marburg: Schüren 2009.

[With Thomas Schick] Emotion - Empathie - Figur: Spielformen der Filmwahrnehmung [Emotion - Empathy – Characters: Playforms of Cinematic Perception], Berlin: Vistas 2008.



Trophy, evidence, document: appropriating an archive film from Liepaja, 1941, in: Historical Journal of Film, Radio and Television, Published online: 16 Mar 2016. DOI:10.1080/01439685.2016.1157286

Preserving Memory or Fabricating the Past? How films constitute cinematic archives of the Holocaust, in: Cinéma & Cie, XV:24, 2015, 33-47.

Migrating Images: Iconic Images of the Holocaust and the Representation of War in Popular Film, in: Shofar, Vol. 28, No. 4, 2010, 86-103.

History, Public Memory and Media Event. Codes and conventions of historical event-television in Germany, in: Media History, Vol. 13, No. 2/3, 2008, 101-114.

Docudramatizing history on TV. German and British docudrama and historical event television in the memorial year 2005, in: European Journal of Cultural Studies, Vol. 10, No. 1, 2007, 35-53.



The Missing Scene: Entebbe, Holocaust, and Echoes from the German Past. In: Simon Dubnow Institute Yearbook 14 (2015). Ed. Raphael Gross. Göttingen: V&R, 243-262.

Echoes from the Archive: Retrieving and Re-viewing Cinematic Remnants of the Nazi Past. Archive and Memory in German Literature and Visual Culture: Edinburgh German Yearbook 9 (2015). Ed. Dora Osborne. Rochester, NY: Camden House, 123-139.

Kampfplatz Kino. Filme als Gegenstand politischer Gewalt in der Bundesrepublik [Cinema as Arena. Films as Subject of Political Violence], in: Tel Aviver Jahrbuch für deutsche Geschichte, Vol. 41, Göttingen: Wallstein 2014, 161-180.
Online: http://www.tau.ac.il/GermanHistory/TAJB_2014_Ebbrecht-Hartmann.pdf



Locked Doors and Hidden Graves. Searching the Past in Pokłosie, Sarah’s Key, and Ida, in: Gerd Bayer and Oleksandr Kobrynskyy (eds.): Holocaust Cinema in the Twenty-First Century. Images, Memory, and the Ethics of Representation, New York: Wallflower/Columbia Univ. Press 2015, 141-160.

[With Ilka Brombach and Chris Wahl:] “Walls Have Never Held Us Back”: 60 Years of Student Films at the Film University Babelsberg KONRAD WOLF. In: Cahier Louis-Lumière 9, September 2015.
Online: http://www.ens-louis-lumiere.fr/fileadmin/pdf/Cahier/9b/PDF-interactif-FR_ENG.pdf.

Film als Archiv. Archiv, Film und Erinnerung im neueren israelischen Kino [Film as Archive. Archive, Film and Memory in the New Israeli Cinema], in: Alf Lüdtke / Tobias Nanz (eds.): Laute, Bilder, Texte. Register des Archivs, Göttingen V&R unipress 2015, 73-90.

History Runs through the Family. Framing the Nazi Past in Recent Autobiographical Documentary, in: Robin Curtis / Angelica Fenner (eds.): The Autobiographical Turn in Germanophone Documentary and Experimental Film, Rochester, NY: Camden House 2014, 194-209.

Anklage und Archiv. Archivmaterial und seine Anordnung in Walter Heynowski. Aktion J – Ein Film der Beweise (1961) [Prosecution and Archive. Archive film and its use in Walter Heynowsky's Aktion J (1961)], in: Bastian Blachut, Imme Klages, Sebastian Kuhn (eds.): Reflexionen des beschädigten Lebens? Nachkriegskino in Deutschland zwischen 1945 und 1960, Munich: Edition text + kritk 2014, 137-157.

Gebrochene Geschichte. Bedrängte Gegenwart. Möglichkeiten und Grenzen eines fremdgestellten Blicks auf die nationalsozialistische Vergangenheit im Film [Broken History, Beset Present. Probing the Limits of Viewing the Nazi Past in Film], in: Brigitte Marschall, Christian Schulte, Sara Vorwalder, Florian Wagner (eds.): (K)ein Ende der Kunst. Kritische Theorie - Ästhetik - Gesellschaft, Wien: Lit 2014, 81-103.

Fenster, Spiegel und ein Fernseher. Medienreflexionen und Bildbeziehungen in den Melodramen von Douglas Sirk [Windows, Mirrors and a Television. Reflexive Media Use in Douglas Sirk's Family Melodramas], in: Bettine Menke, Armin Schäfer, Daniel Eschkötter (eds.): Das Melodram. Ein Medienbastard, Berlin: Theater der Zeit 2013, 290-307

Vom Erscheinen und Verschwinden. Transtextuelle Erinnerung jenseits der Nachbildungen des Holocaust [Appearance and Disappearance. Transtextual Memory beyond the After-Images of the Holocaust], in: Ursula von Keitz, Thomas Weber (eds.): Mediale Transformationen des Holocaust, Berlin: Avinus 2013, 119-139.

Wiederbelebung eines Massenmörders. Verfahren der Transkription und der (Re-) Animation in Romuald Karmakars Der Totmacher (1995) [Re-Animation of a Mass Murderer. On Romulad Karmakar's Deathmaker (1995)], in: Ulrike Hanstein, Anika Höppner, Jana Mangold (eds.): ReAnimationen. Szenen des Auf- und Ablebens in Kunst, Literatur und Geschichtsschreibung, Weimar: Böhlau 2012, 329-344.

Verrätselte Vergangenheit. Medien und Geschichte in Alexander Kluges Die Artisten in der Zirkuskuppel: Ratlos [Puzzled Past. Media and History in Alexander Kluge's The Artist in the Circus Dome: Clueless], in: Christian Schulte (ed.): The Question of Correlation. Alexander Kluge in Context, Berlin: Vorwerk 8 2012, 95-110.

Geschichte im Transit. Bei Thea oder: Orte, die in die Vergangenheit hineinzielen [History in Transit. Dominik Graf's At Thea's, or: Places that lead to the Past], in: Chris Wahl, Marco Abel, Jesko Jockenhövel, Michael Wedel (eds.): Im Angesicht des Fernsehens. Der Filmemacher Dominik Graf, München: edition text+kritik 2012, 267-283.

Historisches Ereignisfernsehen und TV-Events [Historical Event-Television and TV-Events], in: Kay Hoffmann, Richard Kilborn, Werner C. Barg (eds.): Spiel Mit Der Wirklichkeit. Zur Entwicklung Doku-fiktionaler Formate in Film und Fernsehen, Konstanz: UVK 2012, 377-389.

Nonkonformismus und Anpassung. Überlegungen zur Rolle und Funktion der Hochschule für Film und Fernsehen in der DDR von 1954 bis 1989 [Nonconformists and Conformance. The Function of the Film & Television Academy of the GDR from 1954 to 1989], in: Benjamin Schröder & Jochen Staadt (eds.): Unter Hammer und Zirkel. Repression, Opposition und Widerstand an den Hochschulen der SBZ/DDR, Frankfurt/M. [u.a.] 2011, 277-288.

(Re)constructing Biographies. German television docudrama and the historical biography, in: Erin Bell und Ann Grey (eds.): Televising History. Mediating the Past in Postwar Europe, Basingstoke: Palgrave Macmillan, 2010, 207-220.

Die Unruhe des Künstlers. Kunst, Erinnerung und Geschichte in Konrad Wolfs „Der nackte Mann auf dem Sportplatz“ [Art, Memory and History in Konrad Wolf's The Naked Man at the Sports ground], in: Michael Wedel, Elke Schieber (eds.): Konrad Wolf. Werk und Wirkung, Berlin: Vistas Verlag 2009, 145-165.

[With Matthias Steinle] Dokudrama in Deutschland als historisches Ereignisfernsehen – eine Annäherung aus pragmatischer Perspektive [Docudrama in Germany as Historical Event Television], in: Medienwissenschaft, 03/2008, 250-255.

La commémoration de la Shoah par l’image dans la culture allemande [Visual Memory of the Shoah in German Culture], in: Les Guerres de Mémoires dans le Monde. Hermès No. 52, Paris: CNRS éditions 2008, 127-132.

Familienalbum und Familienroman. Zur Neuschreibung der deutschen Familiengeschichten in Geschichtsfiktionen über den Nationalsozialismus [Family Album and Family Novel. Constructing Family Stories in Films about the Third Reich], in: kittkritik (ed.): Deutschlandwunder, Mainz: Ventil 2007, 180-196.

Sekundäre Erinnerungsbilder. Visuelle Stereotypenbildung in Filmen über Holocaust und Nationalsozialismus in den 1990er Jahren [Secondary Images of Memory. Visual Stereotypes in Films about the Holocaust], in: Christian Hißnauer / Andreas Jahn-Sudmann (eds.): Medien – Zeit – Zeichen. Dokumentation des 19. Film- und Fernsehwissenschaftlichen Kolloquiums 2006, Marburg: Schüren 2006, 37-44.

Erinnerungsbilder und Zeitdokumente. Frühe Filme über den Holocaust (1945-1948) [Images of Memory and Documents of the Time. Early Holocaust Movies], in: Filmblatt, Vol. 27 - Spring / Summer 2005, 47-56.

International Symposium - From Entebbe to Mogadishu: Terrorism in the 1970s and its History, Memory and Legacy

Mon, 16/01/2017 to Tue, 17/01/2017

Maiersdorf Faculty Club, Room 501 & Mishkenot Sha´ananim Conference Center, Gilbert de Botton Auditorium

For auido recordings please press the lecture title.


Monday, 16. January 2017

Maiersdorf Faculty Club, Room 501




Opening remarks




Keynote Lecture



Manuela Consonni, The Hebrew University of Jerusalem



Martin Jander, Freie Universität Berlin / Stanford University:



Open Secrets – German Historiography and Non-State Terrorism in Germany after 1945




Coffee Break




Historical Perspectives on Terrorism



Francesco Di Palma, The Hebrew University of Jerusalem / Freie Universität Berlin



Ido Zelkowitz, Max Stern Academic College of Emek Yezreel:



Palestinian Students in Western Germany 1962-1972 – The Creation of Armed Struggle in a Safe Academic Space



Daniel Aschheim, The Hebrew University Jerusalem of Jerusalem:



European Leaders and the Terrorist Threat during the 1970s – The Case of Bruno Kreisky and Willy Brandt




Lunch Break




After Entebbe



Ofer Ashkenazi, The Hebrew University of Jerusalem



Omri Adomi, The Hebrew University of Jerusalem:



From Students to Partners – 1970's Counter-Terrorism and the Shift in the Military Relations between Israel and West Germany



Giora Goodman, Kinneret College on the Sea of Galilee / Tony Shaw, University of Hertfordshire:



Cinematic Depictions of the Raid on Entebbe – Israel and Hollywood



Tobias Ebbrecht-Hartmann, The Hebrew University of Jerusalem:



Entebbe after Entebbe – An Entangled History of Violence, Media and Memory


Mishkenot Sha’ananim, Gilbert de Botton Ausditorium






H.E. Ambassador Dr. Clemens von Goetze, Embassy of the Federal Republic of Germany
Tamir Sheafer, Dean of the Faulty of Social Sciences, The Hebrew University of Jerusalem
Noam Shoval, Head of the DAAD Center for German Studies, The Hebrew University of Jerusalem




Conversation with Dieter Fox (Germany), Deputy Commander of the German Counter-terrorist Unit GSG 9



Gisela Dachs, The Hebrew University of Jerusalem / Die Zeit




Memories from Entebbe and Mogadishu Panel Discussion

 Part 1 | Part 2 | Part 3



Gisela Dachs, The Hebrew University of Jerusalem / Die Zeit



Gabriele von Lutzau (Germany) Survivor from Mogadishu



Matan Vilnai (Israel) – Deputy Commander of Operation Thunderbolt



Benny Davidson (Israel) – Survivor from Entebbe



Avner Avraham (Israel) – Curator and Expert on Operation Thunderbolt








Keynote Lecture



Tobias Ebbrecht-Hartmann, The Hebrew University of Jerusalem



Jeffrey Herf, University of Maryland, College Park:



Munich, Entebbe, Mogadishu – The West German Radical Left, the “Jewish Question”, and Israel


Tuesday, 17 January 2017

Maiersdorf Faculty Club, Room 501



Keynote Lecture



Moshe Zimmermann, The Hebrew University of Jerusalem



Annette Vowinckel, Zentrum für Zeitgeschichtliche Forschung, Potsdam:



Airworld Narratives – Framing the History of Skyjacking








Entangled Histories – Traumatic Memories



Tobias Ebbrecht-Hartmann (The Hebrew University of Jerusalem)



Marc Brüggemann, The Hebrew University of Jerusalem:



The Munich Olympic Attack in German-Israeli Collective Memory



Yael Ben Moshe, University of Haifa:



The Concept of Terrorism and the Void of Trauma – Trans-generational Perspectives in Contemporary German Films




Lunch Break



Commemorating Terrorism and its Victims – Panel Discussion

 Part 1 | Part 2 | Part 3



Amichai Magen, IDC Herzliya


Ankie Spitzer (Israel) – Commemorating the Victims from Munich 1972


Avner Avraham (Israel) – Commemorating the Entebbe Raid


Eyal Boers (Israel) – Commemorating the Victims from Entebbe


Martin Rupps (Germany) – Commemorating Mogadischu and RAF Terrorism in Germany








Entebbe and the “German Autumn” in Israeli and German Visual Memory Panel Discussion



Tobias Ebbrecht-Hartmann, The Hebrew University of Jerusalem


Paul Frosh, The Hebrew University of Jerusalem


Raya Morag, The Hebrew University of Jerusalem


Tony Shaw, University of Hertfordshire


Gisela Dachs, The Hebrew University of Jerusalem / Die Zeit