UNIVIE’S REBOOT JOURNEY
UNIVIE’S REBOOT JOURNEY
Angeliki Chatziefraimidou aka Aliki
favourite movie since REBOOT started:Loving Vincent (2017), Poland & the United Kingdom, directed by Dorota Kobiela and Hugh Welchman.
The film is an experimental animated historical drama, which has won the Best Animated Feature Film Award at the 30th European Film Awards in Berlin, in 2017, as it is the first fully painted animation film from 125 artists around the world, who used the technique of Van Gohn: The 65.000 frames of the film are all oil paintings on canvas.
favourite moment at REBOOT: One personal highlight of this project was the first Children’s University (Kinderuni) Workshop, in which our team participated in 2024. It was the first effort to disseminate the REBOOT project’s mission to children aged 10 to 12 through an interactive workshop. The activities our team organised for this purpose, the setting, the team-work, children’s creativity and their special outcomes, turned this into a special experience for me. One more experience was the REBOOT’s consortium meeting in Château de La Napoule, in Cannes, which included the REBOOT’s participation in the Cannes film festival (2025).
My experience in REBOOT was life-changing, as it was the first project I worked on. The focus of the field and its impact not only highlighted the role of children as civic actors in the film industry and a key factor for the industry’s competitiveness, but also showed how film can be a means of creativity, expression and connection in the digital age.
Collaboration with the partners was an amazing experience. Working with professionals across Europe who shared the same passion, while also having unique opportunities for exchange and cooperation, was truly interesting. The working environment within the Vienna team was excellent - and it was an honour to work with people who are passionate and deeply committed to everything they do.
It was a once-in-a-lifetime opportunity to learn about the European film industry through the eyes of young people, to grow within academia through conferences and publications and to develop both as an individual and as a team under the leadership of Prof. Sarikakis, a remarkable visionary and academic professional leader.
As this project comes to an end, its impact has only just begun, shifting the perspective of competitiveness in the European film industry away from numbers and toward people: toward children, preferences, needs and voices behind the statistics. Film is no longer seen merely as a product, but as the identity and stories of those who create and express them, and of those who see themselves represented or learn about the stories and cultures of others.
I want to extend my gratitude to my colleagues who worked beside me through deadlines, deliverables, research, writing, publications, travel and celebrations, because, at the end of the day, these people made my journey so special.
Sarah Baumgartner aka Sarah
favourite movie:The Day Iceland Stood Still (2024) - Iceland, USA - Dir.: Pamela Hogan
The Day Iceland Stood Still is an Icelandic-American documentary film by Pamela Hogan and Hrafnhildur Gunnarsdóttir from 2024. It focuses on the major women's strike on October 24, 1975, during which 90 percent of Icelandic women stopped both their professional and domestic work to demonstrate for gender equality.
favourite moment at REBOOT: The conference in Vienna - my first experience in an academic space. Truly exciting, full of new insights, inspiring conversations, and perspectives that broadened my view and motivated me both intellectually and personally.
add anything else funny/interesting thought provoking: REBOOT also taught me that research isn’t just books, theories, and serious faces - it’s curiosity, chaos, strong opinions, late questions, and people who care a lot. Basically: less ivory tower, more real life. And somehow, that made it even more exciting.
From the very beginning, REBOOT stood out to me as a project that engages with a highly central and timely research topic. Even though I joined at a later stage, I immediately felt how relevant and meaningful the work was, and how much care and commitment had already been invested in the project. Becoming part of this process was both motivating and inspiring.
REBOOT was my first experience in a research project, and it allowed me to engage deeply with questions that are crucial to understanding film not only as an industry, but as a cultural and social space. As a passionate cinema-goer, it was especially exciting to work on a topic that I genuinely care about, and to see how personal interest and research-driven inquiry can come together in such a productive way.
What truly shaped my experience was the team. Working with such dedicated, open and enthusiastic people created an environment in which exchange, collaboration and mutual support were central. The strong sense of teamwork made it easy to stay motivated, to ask questions and to contribute ideas, regardless of the limited time I spent in the project.
Throughout my involvement, I was able to develop further, learn new things and gain valuable insights through hands-on research work and constant exchange with the team. I felt encouraged to grow, to reflect and to engage more confidently with complex questions, which made the experience particularly rewarding.
I feel very honoured to have been part of REBOOT. The project offered a space to engage seriously with a central research theme, to exchange ideas and to experience how collaborative research can be shaped by shared curiosity and dedication. At the same time, it highlighted how colourful and diverse the European film industry truly is, and how artistic independence functions as a lifeline of society - an expression of diversity and, ultimately, a celebration of life.
Katharine Sarikakis aka KS or Prof
favourite movie:the Murderess (Greek: H Φόνισσα) 2023, Greece. Dir: Eva Nathena
Directed by Eva Nathena, the film derives from Greek literature of the early 20th century. The Murderess, H Φόνισσα, was written by Alexandros Papadiamantis, in 1903. The work is set in the late 1880s Skiathos in Greece and is the story of midwife Chadoula, who commits a series of murders of infant girls in her small village. Chadoula resorts to murder, in order to spare girls from a life of oppression and suffering as adult women. The film and book show her psyche, traumatised by a life of severity and suffering, as it is tormented between her conscience and her desire to deliver women from an insufferable, inescapable fate. The film criticises the conditions leading to femicide, here in this story ironically by a woman with the intention of salvation, the victims of misogyny to our days. The underpinnings of the work are also to be found in the critique against violence against women and femicide as direct hate crimes. Chadoula’s acts are importantly motivated not by hate against women, but by compassion for girls and by rage against the fate that awaits them - a misguided, desperate act to save women from a prolonged death and assault on their soul and body. The film returns to the theme of violence against women through its treatment of femicide both through a historical lens and an unmistaken sharp view of the persistence violence against women and girls that spikes in times of crises. The movie came out of the post-covid era, a time where violence against women and the killings of women rose significantly across the world. The power of storytelling lies in its connecting, in an unsettling manner, practices of times gone that, however, remain painfully persistent in our times: not only the murder of female infants, but also that of girls and women.
favourite moment at REBOOT: the excitement and conviction of our work; the amazing opportunity to convey children’s voices through our research; the deep and long lasting friendships made at our consortium. The moment I was called ‘Coordinator of our Hearts’.
Leading young people to expand their skills, realise their capabilities and challenge their perceptions: working with an amazing team of young people to support the work of the whole consortium was incredible. Our work will generate publications for years to come and we are convinced we have something invaluable to offer to the future of our common heritage of European culture and film. The moments in festivals, meetings, workshops and the opportunity to expand the research as it developed. The incredibly rich intellectual volume of ‘smarties’ all around me: my team, my colleagues and all the young people that became involved and part of our 60 strong consortium.
The storytelling of storytelling!
Angeliki Chatziefraimidou aka Aliki
favourite movie since REBOOT started:Loving Vincent (2017), Poland & the United Kingdom, directed by Dorota Kobiela and Hugh Welchman.
The film is an experimental animated historical drama, which has won the Best Animated Feature Film Award at the 30th European Film Awards in Berlin, in 2017, as it is the first fully painted animation film from 125 artists around the world, who used the technique of Van Gohn: The 65.000 frames of the film are all oil paintings on canvas.
favourite moment at REBOOT: One personal highlight of this project was the first Children’s University (Kinderuni) Workshop, in which our team participated in 2024. It was the first effort to disseminate the REBOOT project’s mission to children aged 10 to 12 through an interactive workshop. The activities our team organised for this purpose, the setting, the team-work, children’s creativity and their special outcomes, turned this into a special experience for me. One more experience was the REBOOT’s consortium meeting in Château de La Napoule, in Cannes, which included the REBOOT’s participation in the Cannes film festival (2025).
My experience in REBOOT was life-changing, as it was the first project I worked on. The focus of the field and its impact not only highlighted the role of children as civic actors in the film industry and a key factor for the industry’s competitiveness, but also showed how film can be a means of creativity, expression and connection in the digital age.
Collaboration with the partners was an amazing experience. Working with professionals across Europe who shared the same passion, while also having unique opportunities for exchange and cooperation, was truly interesting. The working environment within the Vienna team was excellent - and it was an honour to work with people who are passionate and deeply committed to everything they do.
It was a once-in-a-lifetime opportunity to learn about the European film industry through the eyes of young people, to grow within academia through conferences and publications and to develop both as an individual and as a team under the leadership of Prof. Sarikakis, a remarkable visionary and academic professional leader.
As this project comes to an end, its impact has only just begun, shifting the perspective of competitiveness in the European film industry away from numbers and toward people: toward children, preferences, needs and voices behind the statistics. Film is no longer seen merely as a product, but as the identity and stories of those who create and express them, and of those who see themselves represented or learn about the stories and cultures of others.
I want to extend my gratitude to my colleagues who worked beside me through deadlines, deliverables, research, writing, publications, travel and celebrations, because, at the end of the day, these people made my journey so special.
Sarah Baumgartner aka Sarah
favourite movie:The Day Iceland Stood Still (2024) - Iceland, USA - Dir.: Pamela Hogan
The Day Iceland Stood Still is an Icelandic-American documentary film by Pamela Hogan and Hrafnhildur Gunnarsdóttir from 2024. It focuses on the major women's strike on October 24, 1975, during which 90 percent of Icelandic women stopped both their professional and domestic work to demonstrate for gender equality.
favourite moment at REBOOT: The conference in Vienna - my first experience in an academic space. Truly exciting, full of new insights, inspiring conversations, and perspectives that broadened my view and motivated me both intellectually and personally.
add anything else funny/interesting thought provoking: REBOOT also taught me that research isn’t just books, theories, and serious faces - it’s curiosity, chaos, strong opinions, late questions, and people who care a lot. Basically: less ivory tower, more real life. And somehow, that made it even more exciting.
From the very beginning, REBOOT stood out to me as a project that engages with a highly central and timely research topic. Even though I joined at a later stage, I immediately felt how relevant and meaningful the work was, and how much care and commitment had already been invested in the project. Becoming part of this process was both motivating and inspiring.
REBOOT was my first experience in a research project, and it allowed me to engage deeply with questions that are crucial to understanding film not only as an industry, but as a cultural and social space. As a passionate cinema-goer, it was especially exciting to work on a topic that I genuinely care about, and to see how personal interest and research-driven inquiry can come together in such a productive way.
What truly shaped my experience was the team. Working with such dedicated, open and enthusiastic people created an environment in which exchange, collaboration and mutual support were central. The strong sense of teamwork made it easy to stay motivated, to ask questions and to contribute ideas, regardless of the limited time I spent in the project.
Throughout my involvement, I was able to develop further, learn new things and gain valuable insights through hands-on research work and constant exchange with the team. I felt encouraged to grow, to reflect and to engage more confidently with complex questions, which made the experience particularly rewarding.
I feel very honoured to have been part of REBOOT. The project offered a space to engage seriously with a central research theme, to exchange ideas and to experience how collaborative research can be shaped by shared curiosity and dedication. At the same time, it highlighted how colourful and diverse the European film industry truly is, and how artistic independence functions as a lifeline of society - an expression of diversity and, ultimately, a celebration of life.
Katharine Sarikakis aka KS or Prof
favourite movie:the Murderess (Greek: H Φόνισσα) 2023, Greece. Dir: Eva Nathena
Directed by Eva Nathena, the film derives from Greek literature of the early 20th century. The Murderess, H Φόνισσα, was written by Alexandros Papadiamantis, in 1903. The work is set in the late 1880s Skiathos in Greece and is the story of midwife Chadoula, who commits a series of murders of infant girls in her small village. Chadoula resorts to murder, in order to spare girls from a life of oppression and suffering as adult women. The film and book show her psyche, traumatised by a life of severity and suffering, as it is tormented between her conscience and her desire to deliver women from an insufferable, inescapable fate. The film criticises the conditions leading to femicide, here in this story ironically by a woman with the intention of salvation, the victims of misogyny to our days. The underpinnings of the work are also to be found in the critique against violence against women and femicide as direct hate crimes. Chadoula’s acts are importantly motivated not by hate against women, but by compassion for girls and by rage against the fate that awaits them - a misguided, desperate act to save women from a prolonged death and assault on their soul and body. The film returns to the theme of violence against women through its treatment of femicide both through a historical lens and an unmistaken sharp view of the persistence violence against women and girls that spikes in times of crises. The movie came out of the post-covid era, a time where violence against women and the killings of women rose significantly across the world. The power of storytelling lies in its connecting, in an unsettling manner, practices of times gone that, however, remain painfully persistent in our times: not only the murder of female infants, but also that of girls and women.
favourite moment at REBOOT: the excitement and conviction of our work; the amazing opportunity to convey children’s voices through our research; the deep and long lasting friendships made at our consortium. The moment I was called ‘Coordinator of our Hearts’.
Leading young people to expand their skills, realise their capabilities and challenge their perceptions: working with an amazing team of young people to support the work of the whole consortium was incredible. Our work will generate publications for years to come and we are convinced we have something invaluable to offer to the future of our common heritage of European culture and film. The moments in festivals, meetings, workshops and the opportunity to expand the research as it developed. The incredibly rich intellectual volume of ‘smarties’ all around me: my team, my colleagues and all the young people that became involved and part of our 60 strong consortium.
The storytelling of storytelling!
Simon Haslauer aka Simon (/ziːmɔn/)
favourite movie:Passages (France, 2023)
favourite moment at REBOOT: Visiting schools and talking with children about their opinions about (European) film and hosting the Screening the Scene conference in Vienna of our Hearts’.
add anything else funny/interesting thought provoking: It is important to understand – and I think that the REBOOT project has incorporated this sentiment into its work to a considerable degree – that the artistry of film and the conditions of the film industry are inseparably intertwined, or as to say it in the words of Debord: Cinema as “spectacle is not a collection of images; it is a social relation between people that is mediated by images“.
Participating in a big research project like REBOOT for the first time, I was impressed by the project’s volume of work and output, exceeding even the already ambitious grant agreement.
I was even more impressed by the project’s commitment to create visibility for emerging researchers like myself – and at the same time highlight young voices as part of the research. In fact, my most fond memory during the project is our trips to Viennese schools, talking to children and young adults about their opinions on film and getting into conversation with young filmmakers about their experience in the European film industry. It has become apparent to me that as (publicly funded) researchers, it is our responsibility to lift and highlight the voices at the fringes of the European film industry – and I can say confidently that every single person part of REBOOT has done its best to do just that.
This short text is way too little to communicate even a fraction of the project’s findings or the gratitude I feel towards the entire consortium – and especially my team in Vienna, led by Prof. Katharine Sarikakis – who I have constantly felt uplifted and appreciated by. Finally, what is left to say for me is only two words: Thank you.
Yves Saint Clair Zogo aka Mr. Zogo
favourite movie:Qu’est ce qu’on a fait au bon Dieu? (France, 2014) - by Philippe De Chauveron
favourite moment at REBOOT: Seeing our research puzzle across all its dimensions piece up during our final conference was my highlight.
Navigation would be the word that best describes my experience throughout the REBOOT project. Its scope fascinated me with a blend of professionals, teams and stakeholders from different horizons coming together with a shared objective: changing prevailing narratives. Coming from a purely practitioner background, REBOOT opened the door to a deeper understanding of the relationship between research and practice, allowing me to witness first- hand what was truly at stake. Working across such a wide range of dimensions from research with children to legal frameworks and emerging technologies was both challenging and stimulating. The project broadened my perspective in many ways: through intergenerational exchange, personal encounters and collaboration with remarkably dedicated teams, to whom I remain profoundly grateful. Thank you to every single one of you!
This experience has given me a new lens through which to see European cinema. I have come to understand that Europe’s future film competitiveness will not depend on replicating global commercial models, but on strengthening access, supporting diverse creators and ensuring that European stories continue to circulate across borders, platforms and audiences. The project has come to a formal close, but I firmly believe this is only the beginning of an inspiring journey.
Gentiana Ramadani aka Genta
favourite movie:la vita é bella (1997)
favourite moment at REBOOT: Working on research, exploring diverse themes and transforming research questions into a meaningful final product has been my favorite moment…because the challenge was always there!
Another important aspect of my work on the project was the opportunity to meet, listen to, and collaborate with experts and professors in the field, from whom I learned a lot and began to think differently. Reboot was a project that placed me in “reboot mode” every day, constantly challenging me to reflect, rethink and operate.
favourite movie:Passages (France, 2023)
favourite moment at REBOOT: Visiting schools and talking with children about their opinions about (European) film and hosting the Screening the Scene conference in Vienna of our Hearts’.
add anything else funny/interesting thought provoking: It is important to understand – and I think that the REBOOT project has incorporated this sentiment into its work to a considerable degree – that the artistry of film and the conditions of the film industry are inseparably intertwined, or as to say it in the words of Debord: Cinema as “spectacle is not a collection of images; it is a social relation between people that is mediated by images“.
Participating in a big research project like REBOOT for the first time, I was impressed by the project’s volume of work and output, exceeding even the already ambitious grant agreement.
I was even more impressed by the project’s commitment to create visibility for emerging researchers like myself – and at the same time highlight young voices as part of the research. In fact, my most fond memory during the project is our trips to Viennese schools, talking to children and young adults about their opinions on film and getting into conversation with young filmmakers about their experience in the European film industry. It has become apparent to me that as (publicly funded) researchers, it is our responsibility to lift and highlight the voices at the fringes of the European film industry – and I can say confidently that every single person part of REBOOT has done its best to do just that.
This short text is way too little to communicate even a fraction of the project’s findings or the gratitude I feel towards the entire consortium – and especially my team in Vienna, led by Prof. Katharine Sarikakis – who I have constantly felt uplifted and appreciated by. Finally, what is left to say for me is only two words: Thank you.
Yves Saint Clair Zogo aka Mr. Zogo
favourite movie:Qu’est ce qu’on a fait au bon Dieu? (France, 2014) - by Philippe De Chauveron
favourite moment at REBOOT: Seeing our research puzzle across all its dimensions piece up during our final conference was my highlight.
Navigation would be the word that best describes my experience throughout the REBOOT project. Its scope fascinated me with a blend of professionals, teams and stakeholders from different horizons coming together with a shared objective: changing prevailing narratives. Coming from a purely practitioner background, REBOOT opened the door to a deeper understanding of the relationship between research and practice, allowing me to witness first- hand what was truly at stake. Working across such a wide range of dimensions from research with children to legal frameworks and emerging technologies was both challenging and stimulating. The project broadened my perspective in many ways: through intergenerational exchange, personal encounters and collaboration with remarkably dedicated teams, to whom I remain profoundly grateful. Thank you to every single one of you!
This experience has given me a new lens through which to see European cinema. I have come to understand that Europe’s future film competitiveness will not depend on replicating global commercial models, but on strengthening access, supporting diverse creators and ensuring that European stories continue to circulate across borders, platforms and audiences. The project has come to a formal close, but I firmly believe this is only the beginning of an inspiring journey.
Gentiana Ramadani aka Genta
favourite movie:la vita é bella (1997)
favourite moment at REBOOT: Working on research, exploring diverse themes and transforming research questions into a meaningful final product has been my favorite moment…because the challenge was always there!
Another important aspect of my work on the project was the opportunity to meet, listen to, and collaborate with experts and professors in the field, from whom I learned a lot and began to think differently. Reboot was a project that placed me in “reboot mode” every day, constantly challenging me to reflect, rethink and operate.