First, we aim to question and verify existing images of film work, especially seemingly fixed working routines, to enable and at the same time demand the experiencing of the hitherto unknown, so as to provide a basis for film work the way nature studies and nudes work for painting. For students, this means that, as a rule, they have to face life conditions other than their own, and to venture into strange terrain. How do I approach a specific object? Attention, observation, approach, modesty awake. And, despite all emotionality linked thereto, this entails cold and sharp thinking, to speak in Brecht's vernacular. Film means, first and foremost, learning to see. This, of course, requires social accuracy, curiosity, approximation and openness, and thus a distancing from oneself and one own's feelings, unless they are the subject matter of the respective investigation. Films and especially documentary films, if they have something to show, live longer than the editorial office that commissioned them in the first place, and longer than the state in which they came into being. This involves a spectrum which ranges from giving testimony of the human being and his/her existence to the playful exploration of reality itself and to varieties of fine art. However, a good film always reveals something, humans, relations and relationships, contexts. The way these relations have been created is mainly defined by their history, by the human beings who made this history, or who were subjected to it. Developing an awareness in students of the dimension of this issue is therefore one of the main tasks of the Studio of Art and Film.