German Federal Archives

Zusammenfassung Das Bundesarchiv bietet seit Jahresbeginn 2024 Digitalisierung on Demand (DoD) als kostenlosen Service an. Die erforderliche Infrastruktur besteht aus einem Archivfachinformationssystem (AFIS), einer selbst entwickelten Software zum Auftragsmanagement und 40 hybriden Scangeräten an vier Standorten. Die bisher gemachten Erfahrungen und die Rückmeldungen der Benutzerinnen und Benutzer sind grundsätzlich positiv und der Service wurde gut angenommen, ohne dass es zu einer Überlastung der zuständigen Arbeitsbereiche kam.

Au tournant de l’année 1945, la Wehrmacht déploie des Richtmänner dont la mission est de relayer l’idéologie nazie et de prévenir les comportements indésirables au sein de la troupe. Assistant des officiers politiques et de l’encadrement tactique, ils sont conçus comme un moyen d’atteindre l’intimité du « groupe des camarades » et de lutter contre les critiques croissantes des soldats à l’égard de l’institution militaire. Toutefois, ils sont aussi un outil coercitif qui permet de contrôler les soldats. Le contexte particulier de la fin de la guerre, qui explique la création des Richtmänner, limite leur efficacité, car nombre de soldats allemands se montrent défiants face à l’institution militaire. Le cas des Richtmänner permet d’éclairer les structures de la Wehrmacht à la fin du conflit, de réfléchir aux modalités du maintien de la troupe au combat et de s’interroger sur la place du groupe primaire comme facteur de cohésion de l’armée allemande.

Wo sind sie, die 'kinetischen' Methoden für die Filmanalyse, die dem Film als sowohl dynamisches als auch multimodales Medium zumindest ein Stück weit gerecht werden können? Dieser Frage gehen im Rahmen des Panels fünf ausgewiesene Expertinnen und Experten aus der Filmwissenschaft und der Informatik nach, die jeweils auch Erfahrung im DH-Kontext gesammelt haben. Diskutiert werden die Innovationen des Deep Learning und deren Potenzial für die Filmwissenschaft, weitere methodische Neuerungen wie Eye Tracking, aber auch die Perspektive der Lehre, der Theoriebildung und der GLAM (Galerien, Bibliotheken, Archive, Museen). Erklärtes Ziel ist, diese unterschiedlichen Perspektiven im Panel zusammenzuführen, um einen ersten Schritt in Richtung 'kinetische' DH zu gehen. Dabei wird auch das Publikum aktiv in die Diskussion eingebunden. Ein Beitrag zur 8. Tagung des Verbands "Digital Humanities im deutschsprachigen Raum" - DHd 2022 Kulturen des digitalen Gedächtnisses.

Abstract High Speed two (HS2) believes that an inclusive design approach will make the network easier for everyone to use. The design of stations and rolling stock will be based around the people using them and developing a better understanding of users and their needs is therefore key to defining the best solutions and to informing the development of new standards and best practice. An opportunity for developing a new standard was identified to address a gap between the provision of ‘Accessible Toilets and ‘Adult Changing Places’ facilities in Figure 40 and Figure 48 in BS8300[1]. Bridging this gap will improve the usability of toilets on station platforms, both for wheelchair users and for people requiring specific features for a range of needs. These are additional provision which exceed current best practice. A multi-disciplinary investigation was undertaken involving Architects, Human Factors Consultants and Access Consultants, into what would constitute an enhanced platform toilet facility. Information relating to a wide range of users and toilet facilities was collated and scenarios considered such as for travellers with luggage, families travelling with children and push chairs, colostomy bag users, and wheelchair/scooter users. The study also drew upon three toilet layouts, selected as being the most informative for the purposes of the study, within BS8300-2:2018: ‘Design of an accessible and inclusive built environment’[1], cross comparing the features and configurations with the requirements identified for a range of users. An inclusion/exclusion matrix was produced to reflect this comparison, which enabled the identification of gaps between the functionality of each layout and the requirements of each user group. The results from this matrix analysis led to the development of new layouts which were refined through user engagement and stakeholder feedback to a single square layout with the inherent flexibility to be rotated to suit different contexts. This study has greatly assisted HS2 towards achieving its strategic customer experience objectives and the process can be replicated for other key customer facilities to support HS2s Inclusive Design commitments. The proposal is now mandated into the HS2 Inclusive Design Standard and will therefore be implemented at all stations and has potential to influence the development of national standards.

Vertov’s works always revolved around the documentary, for it was only here that for him both the truth and the essence of the people in the Soviet reality were revealed. The fact that the film-maker turned precisely to film and did not, for example, work as the editor of a daily newspaper may be happenstance, or it may be traced back to Vertov’s active interest in new media. It is, however, just as plausible to assume that Vertov recognised in film the potential for revealing his processes without detracting from their effect – on the contrary; the director felt that films could actually gain in fascination through the demonstration of the processes of craftsmanship. Vertov transmitted the idea of film work as a demonstrative activity and accentuated the professional abilities of his film team. Above all, in his early films he also presented his colleagues on the screen, where they were shown practising their professions in a manner almost reminiscent of folk art: “The activity of a ‘filmer’, e.g. the cutter at work editing the material shot is expressly equated with the finishing of textiles and the sewing of fabric parts” (Drubek-Meyer and Murasov 2000: 8). This comparison runs through the history of editing and is also mentioned by Walter Murch, who sees it as a possible reason for the high proportion of women in the editing profession (Wright 2009).

Important insights on the film history of the Nordic countries are to be found in the Federal Archives of Germany, not least with regard to World War II. This short subject introduces the holdings of the Federal Archives of Germany especially the material of interest to the study of Scandinavian cinema.