Today, we encounter split screens in a wide variety of media configurations: on the displays of cell phones, on computer screens and in video conferences. However, they also do have a long tradition on the big screen. With this tradition a line of development can be traced from the central perspective logic and the logic of the self-identical subject of the film to a fanning out into heterogeneous and dynamic image networks.

In his lecture Malte Hagener (Philipps University Marburg) argues in favor of understanding split screens as a medial
logic that is effective far beyond film in the most diverse media arrangements. As a film historical example, he uses the film The Boston Strangler (Richard Fleischer, USA 1968), which will be shown after the lecture.