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What is ZeM?

The Brandenburg Centre for Media Studies (ZeM) is a joint research facility of the universities of the state of Brandenburg. +

Funding policy

New qualifying dates 2018 for applications for supported formats:
30 September 2018



The Kinomatics Project – an international effort to collect, explore, analyse and represent digital data about the creative industries.


The Digital View - Mixed Methods in Image Analysis - Quantitative versus qualitative approaches

The workshop is part of the research project "ANCI" (analysing networked climate images), which is dedicated to the topic of similarity as a factor of image comparison using the example of climate images on the Internet.


Research Group "Attention Strategies of Video Activism in the Social Web"

How do critical and humanitarian videos on the Social Web assert themselves against the superiority of advertising, entertainment and propaganda? What strategies do NGOs, art collectives and networks of activists pursue to capture the attention of their viewers?



The exhibition HOME MOVIE COME BACK will open on July 6, 2018. The exhibition shows the history of home cinema and is supported by the ZeM. Admission is free.


Code of Good Working Conditions in Media Studies

As a media science institution, we are committed to the goals and principles formulated in the Code for good working conditions in media science.


Förderlinien online

Die Förderlinien zur Forschungsförderung für ZeM-Mitglieder sind nun online und können hier heruntergeladen werden.


Klassiker des tschechischen und slowakischen Films (Classics of the Czech and Slovak Film)

The volume presents the most important Czech and Slovak films since 1930: 25 films whose aesthetics and themes give an impression of how diverse a Czech, Slovak and Czechoslovak nation still is in its film productions today.


A new Apparatus Issue has been published

Apparatus Issue 6 (2018): Women at the Editing Table: Revising Soviet Film History of the 1920s and 1930s


Bilder verteilen (Distributing Pictures)

Digital photographs are omnipresent: they are produced, distributed, commented on and stored billions of times every day. In interaction with digital technologies and social networks, practices have emerged that have radically changed the production and reception, distribution and archiving of photographic images.


Machtzeichen (Signs of Power)

Computers, in the present day, are linked in a fundamental sense, with demands for regulation and questions of availability – with the desire for and the fear of control. What forms of availability are these?