To what extent can we think of audiovisual images as themselves bringing forth the public spheres in which they emerge? How can processes of adaptation and appropriation in audiovisual culture(s) be analyzed from a historical point of view?

How are cultural valuation and global economic interests intertwined within digital image cultures? What role does creative appropriation play in this field? How can we shape a media historical view on digital audiovisual images?

What does the Anthropocene feel like? Which forms of agency, which spatial and temporal scaling is being produced? And how do we have to (re)think the phenomenology of cinematic images under these circumstances?

How is the formation of cultural communities entwined with the circulation of audiovisual images? What role do the processes of transmediality, media convergence and divergence play?

How are the multiple levels of projection intertwined with each other? How does the relationship between film and cartography shape our embodied projections of the world?

How do films create worlds as fabrics of possible perceptions, movements, and affects?
How are viewers placed within collectively shared worlds of sensation within these concepts?

How do digital methods interact with theoretical notions in the humanities? What new forms of connection and knowledge circulation of thinking with audiovisual images are possible?

How does appropriation of audiovisual images function in different cultural and media contexts? How does embodiment in comics and video games work with regard to the theory of movement images?

How do audiovisual images configure a shared sensibility in media users? In what manner can we observe particular communities of taste?

How can we describe the film-poetological thinking of Sergei M. Eisenstein, following the terminology of 'material' and 'method', as a case study for the poiesis of viewing films?

How can we describe historical experience as a certain aesthetic mode that is fundamental to the poiesis of viewing films?

What is the relation of the poiesis of viewing films as a commonly shared process of world making and the cultural as well as political processes involved in building a community?

Is it possible to understand genres as discourses that focus on differentiating and connecting a variety of modes of poetic thinking?

How can we describe the relation between audience and audiovisual image as an interaction that relies on the thinking of film as a genuinely cinematic process of metaphoricity?