Tutored theses & internships

Upcoming dissertations

Claire Dupré la Tour (2016, Utrecht University, reading committee/jury), Intertitre et film narratif de fiction. Genèses, développements, et logiques d’un procédé filmographique, 1895-1916. L’exemple de la production aux États-Unis et le cas d’Intolerance (D.W. Griffith, 1916).
Vito Adriaensens (2015, University of Antwerp, reading committee/jury), Velvet Curtains and Gilded Frames. The Art of Early European Cinema.
Liesbet Depauw (2009, University of Ghent, reading committee/jury), Paniek in Context. Een interdisciplinair, multimethodisch onderzoek naar het publieke debat over geweld in film tijdens het Interbellum in België
Itzia Fernandez (2006-9, Université 3, Sorbonne, Paris, reading committee/jury), Paradoxes de la compilation au service de la valorisation des films muets, à partir des films réalisés par Peter Delpeut et coproduits par le Nederlands Filmmuseum (1989-1999).
Paul Lesch (2006, University of Ghent, reading committee/jury), In the name of public order and morality. Cinema control and film censorship in Luxembourg 1895-2005.

Upcoming theses (MA)
Mark Verheijden (2020-22, supervisor), The Political Power of Memes.

Theses (MA)
Dieuwertje Sjoerds (2022, second reader), From Seeing to Sensing: An Analysis of Accessibility for the Visually Impaired in the Van Abbemuseum and the Stedelijk Museum in Amsterdam through Multisensory Media.
Danai Kontitsi (2022, supervisor), Aesthetics in Modernist Museums vs. in Post-Museums: The New Media Art Era.
Su Lae-Win (2022, supervisor), Democratizing the Museum: Re-evaluating Theatricality in Constructing Open Narratives.
Sjoerd Blessing (2020-22, supervisor), The Stunt Double and Vertical Framing: Aspects of Vertical Framing in Narrative Short Film
Gina Jost (2022, supervisor), Art Museums and Digital Strategies in the Midst of a Pandemic: The Case of the Rijksmuseum.
Rixt Weeber (2022, supervisor), Making the Cut: How Alba de Cespedes’ Banned Novel Nessuno Torna Indietro Was Turned Into a Film Adaptation by Alessandro Blasetti.
Anastasia-Maria Papika (2021-22, supervisor), Expanded Reworkings: Audiovisual Narratives in Exhibition Spaces [on Douglas Gordon’s Feature Film].
Christina Pedoulaki (2021, supervisor), Silence Revisited: The Ear as Organ of Touch in the Horror Film A Quiet Place (2018).
Diana Petcov (2021, supervisor), A Cinema of In-Betweenness: The Intermedial Presence of Raúl Ruiz.
Viktor Vandervelde (2021, supervisor), Listening to the Exhibition’s Story: Podcasting in the Transmedia Museum.
Lisa Tiggelhoven (2020, second reader), Data Surveillance as an Artistic Practice.
Gökçe Baykan (2020, second reader), Media of Hybrids: Between Still and Moving Images [on cinemagraphs]
Floor van Esch (2020, second reader), The Art of Exhibiting Video Art at the Stedelijk Museum Amsterdam [on solo exhibitions of video art by artists Nam June Paik and Bill Viola]
Luna Hupperetz, (2019-20, supervisor), The Militant Film Circuit of Cineclub Vrijheidsfilms: Reconstructing a Dutch Multi-sited Cinema History in the Light of the Cineclub Paper Archive.
Hidde Robeer (2020, supervisor), Evolution and Authenticity in Contemporary Animation Aesthetics  [on The Lion King, 1994 and 2019]
Alex Simionics, (2020, supervisor), The Art of Freedom: Investigating Interactivity through Environmental Art, as Seen in Sziget Festival 2019.
Luciana Russo (2016-20, second reader), This Is Not the Past: Unraveling Palmbomen II.
Fleur den Uijl (2019-20, second reader),  De mate van creativiteit van kunstenaars die gebruiken maken van het GAN-algoritme, oftewel een algoritme op basis van ‘neural style transfer’, bij het produceren van hun kunstwerken.
Emanuelle van den Broek (2016-19, supervisor), The Photo-novel as a Vehicle of Signs: Reading Ed van der Elsken’s Love on the Left Bank (1956).
Anastasiia Klimenko (2019, supervisor), The Russian Avant-Garde Art’s Current Exhibition Problematics: The Exhibition as a Medium.
Beatriz Mascari Brochado (2019, supervisor), Building a LEGO Storyworld: A Case Study of the Lego Movie (2014).
Keesha Winter (2019, second reader), More than a Damsel in Distress: The Representation of the Femme Fatale in Video Games.
Eline Smit (2018, second reader), Sounds of the Museum: A Research about the Effect(s) of Sound in Camera in Love on the Exhibition’s Narrative.
Gemma Puigdomenech Reig (2018, second reader), White India vs. Native India: An Analysis of the Disparity Between Sound and Moving Image in Marguerite’s Duras’ India Song.
Mike Warrink (2018, supervisor), Banksy: The Critique Towards the Art World and the Use of Documentary.
Ekin Asar (2018, supervisor), Aesthetics of Restlessness in the New Cinema of Turkey: Ivy (2015).
Charlotte de Gier (2018, second reader), Beyond the Garment: Exploring Digital and Transmedia Practices for Fashion.
Mats de Gier (2018, supervisor), Immersive Thrills: Cinema as a Transsensorial Experience.
Steve Melone (2018, second reader), Archiving the News Through Cinema.
Rachel van der Ent (2016-2017, supervisor), Fashion in the Digital Age: The Blonde Salad from Blog to Lifestyle Platform.
Nina Loth (2016-2017, supervisor), The Museum as Acoustic Space: The Role of Sound in Visual Art Exhibitions and the Museum Space.
Annelise Hewitt (2016-2017, supervisor), The Post-Museum in the Experience Economy of Visual Culture.
Jacob White (2016-2017, supervisor), Narrative Mediatisation of Martial Arts.
Liesbeth Duyves (2016-2017, second reader),  Dreams of Dali. Case study on the categorization of a new Virtual Reality artwork.
Manon van den Bliek (2016-17, supervisor), Robert Breer: Back Towards the Future.
Joyce Mei-hsing Lai (2016, supervisor), Transmedial Intermediality in Digital Works: Analyzing Wu Tien Chang’s Digital Photographies and Video Installations.
Lucas van der Kam (2016, supervisor), The Album Cover as Medium: Material and Visual Analysis of Early British Punk (1977-1981).
Merel Zwarts (2016, supervisor), Between The One, the Many and the Spectacle: Staging Spectatorship and Participation in the Exhibition The One and The Many by Elmgreen and Dragset.
Joanna Styrkowicz (2016, second reader), Banksy and Institutional Critique.
Femke Pijls (2015-16, supervisor), Museum Blogs as a Part of Crossmedia Storytelling: The Importance of a Convincing Blog.
Ghyslaine Tromp (2015-16, supervisor),  Narrative Functions of Sound and Music in the Transition from Silent to Sound Film.
Sylvie van den Broek (2015, supervisor), The Ear as Organ of Fear: Music, Sound and Eeriness within the Cinema of Stanley Kubrick.
Konstantinos Dranganas (2015, supervisor), Alternate Reality Games for Cultural Exhibitions.
Ilona Domanska (2014-15, supervisor), Formation of Mediated Memory in the Digital Age: The Shaping of Collective Recollection and Cultural Heritage of the Great War Through the EFG1914 Project.
Costanza Fabiano (2015, supervisor), The Faceless Character: The Borders of the Force of Film Music.
Desiree Visser (2014-2015, second reader), Gendered Paratexts in Contemporary Hollywood film: How Trailers Influence the Viewer’s Interpretation of the Film.
Rania Mouzakiti (2014-15, supervisor), Pop Music and Suspense in David Lynch’s Lost Highway and Quentin’s Tarantino’s Reservoir Dogs.
Shane Neifer (2014, second reader), Landscape, Architecture, Technology, and “Canadian Identity” in the Films of David Cronenberg.
Anneclaire van Veelen (2014, second reader), The Clothing of Grief in Film: The After-Life of Clothes in Mourning Films
Liana Voinea (2014, supervisor), Emotional Web Visualization: How Art Refashions Information Visualization.
Eline Poot (2014, supervisor), Through the Looking-Glass: The Influence of Digital Media on Museums. Graduated cum laude.
Dan Angelescu (2014, second reader), The Self-Mediated Film Festival: Film Festival Paratexts in the Context of Digital Media.
Sarah Cohan (2013, third reader), From Couch Potato to Selective Viewer: The Relationship of Complex Narratives and Audience Viewing Habits in Television.
Alison Pym (2013, supervisor), Expanded Cinema Spectatorship in Contemporary Exhibition: Uniting Art and Life.
Pam Roos ten Barge (2013, supervisor), Reskilling and Deskilling: A Story of Contemporary Art Criticism.
Ada Kowalczyk (2013, supervisor), De Stijl between Modernism and the Gesamtkunstwerk.
Alexandra Mihali (2013, supervisor), Collaborative Experiment. Exhibition: The Medium of the Non-Profit Programmes Within Commercial Art Galleries.
Robyn Collinge (2013, second reader), Examining Novel to Film Adaptation: Through the Lens of Focalization.
Laura Wijkhuizen (2013-2-14, second reader), Digital Developments in the Presentations of Museums: A Study of New Media and the Presentation of Usefulness in Museums.
Vanessa Catalano Dominguez (2013, second reader), The Design Process of the Nemo Science Centre, Amsterdam: A Discussion on the Spatial and Material Conditions of a Contemporary Learning Environment.
Marjolein van de Ven (2013, second reader), Bewegend beeld in Museum Boijmans van Beuningen. Tentoonstellings- en aankoopbeleid van de eerste aankoop tot nu: waar gaat het bewegend beeld naartoe? [on experimental cinema & video art in Dutch museums].
Marija Djacenko (2012, second reader), The Festival is the Message: The Impact of International New Media festivals on Intermedial (R)evolution.
René van der Stok (2012 second reader), Realizing the Real: Remediations and Simulacra in the ‘Amsterdam DNA’ [exhibition].
Anne van Oppen (2012, second reader), Facing the Defaced: The Functioning of the Dialectic of Symbolic and Physical Iconoclasm through the Medium of Contemporary Art. With Case Studies of Gert Jan Kocken, Thomas Raat and Aleksandr Brener.
Alina Tudose (2012, supervisor), Parises: The Representation of Paris in Hollywood Film Trailers (1970-2011).
Jareontananan Achiraya (2012, supervisor), Stillness in Motion Pictures: Comparative Case Studies on Contemporary European and Asian Films.
Flora Schausberger (2012, supervisor), The Film Still in the Visual Arts: (Re-)interpretations of the Film Still in the Work of Cindy Sherman, Mitra Tabrizian and Gregory Crewdson. Graduated cum laude.
Lauren Sevior (2012, supervisor), Performing Realism. Mise-en-scène and Tableaux Vivant in the Cinema of Pedro Almodovar.
Winnie Hofmeester (2012, supervisor), Branding Film: Film Distribution in the Dutch Film Market.
Marianne Huijssoon (2011-2012, supervisor), Fashion and Intermediality.
Marlies Havenga (2011-2012, supervisor), Narrative Structure in 3d: On Narrative Structure in Crossmedia Museum Spaces.
Mina Oztürk (2011, supervisor), Mobile New Media: Deciphering the Power of the i-Phone.
Marija Jacimovic (2011, supervisor), Looking through the Window: Study of the Window Motif in Art through the Work of Edward Hopper.
Abigail Prade (2011, second reader), Cinematic/Photographic Stillness in the Work of Jeff Wall and Roy Andersson.
Ira Koch (2011, second reader), Collaborative Storytelling in Forum Based Play-By-Post Role Play Games: Transformations in Narration and Narrative.
Lotte Snellenburg (2011, second reader), Neo-Baroque Aesthetics and Contemporary Music Videos.
Irma de Vries (2010-11, supervisor, with Laura Copier), Adaptation of Dutch Children’s Novels [Oorlogswinter/Winter at War].
Vera van Zelm (2009-2011, supervisor), Cabaret en Registratie. Een Synthese van Theater, Televisie en Film?
Gösta Lodder (2010-2011, second reader), Extase van Santa Teresa. Capella Cornaro als Gesamtkunstwerk. Teresa als Maria-figuur.
Marit van Rijn (2011, second reader), Visual Music: An Exploration of the Intermedial Quality of a Cinematic Tradition. Graduated cum laude.
Edna Acevedo (2010-11, supervisor), Crossing Borders of the Real: Mexican Cinema and Photography in 1920-1950 and Italian Neorealism.
Djoeke Schuller (2010, supervisor, with Laura Copier), Sitting Front Row. Participatory Fandom and Harry Potter.
Naomi Shaw (2010, second reader), Blogging and the City: Fashion journalism in the age of web 2.0.
David Jansen (2009-10, supervisor), Comparative Arts and Media Studies: Intermediality and The Matrix.
Fleur Kuijpers (2009-2010; supervisor, with Wilbert Schreurs), Humor Theories and Humor in Dutch Television Commercials.
Sanne Baar (2009, second reader),  De verbeelding van de verwerking van de Tweede Wereldoorlog in speelfilms [Hiroshima mon amour/ De Aanslag/The Reader]
Lena Wilde (2008-9, supervisor), Across the Universe: Remediation & the Postmodern Musical. Thesis won the Faculty Thesis Award.
Karin Revers (2008, second reader), Extreme Make Over. The Adaptations of the Children’s Stories Pinocchio, Alice in Wonderland and 101 Dalmatians into Classic Disney
Gerdien Smit (2006-7, supervisor), De verbeelding van de Aldo Moro-affaire in recente Italiaanse film. [Buongiorno notte, a.o.]
Vincent de Bel (2005-7, supervisor), Deleuze, Mulholland Drive en een nieuw systeem van denken.
Saskia van Leeuwen (2006-7, second tutor), Disney’s propagandafilms.
Alice Braun (2006-7, second tutor), Metaphors and Symbols in Tod Browning’s Dracula and Timur Bekmambetov’s Nochnoi Dozor (Night Watch): An Analysis on National and Generic Levels.
Rosa van Ederen (2006-7, supervisor), De begrenzing voorbij. Film-, ballet- en theateraffiches van Erwin Olaf in relatie tot zijn autonome fotografie.
Maurice Levano (2006, second reader), De Remake van The Getaway.
Stefan Stok (2006, second tutor), De (film)theaters van Evert Breman. [Amsterdam theaters & cinema’s]
Kim Klijnsma (2005-6, supervisor), De verbeelding van een gemeenschap. Afro-Amerikaanse filmische zelfrepresentatie in de twintigste eeuw. [Body and Soul, Sweet Sweetbacks Badassss Song, Do the Right Thing]
Miranda Fransen (2004, supervisor), Solaris, het Russische antwoord op 2001: A Space Odyssey. Een onderzoek naar kleurgebruik in film.
Liedewij Theisens (2004, supervisor), Balanceren tussen roes en beteugeling. De rol van Nietzsche in Morte a Venezia.
Agnes Kiss (2004, supervisor), Zien en geloven. De representatie van geloof in de Sovjet film tussen 1965-1987. [Komissar, Voshodzdenie, Pokajanije]
Judith van der Heijden (2003, supervisor), The Opera Strikes Back. Opera elementen in Star Wars.
Maryl Adler (2003, supervisor), Hitchcock and Art? Een casestudy naar vergelijkingen tussen de vrouwen in Hitchcocks films en kunstwerken uit de tentoonstelling Hitchcock and Art: Fatal Coincidences.

Theses (Premaster)
Viktor Vandervelden (2020, supervisor), Multiplex vs. Arthouse: How the Dutch Artplex Emerged.
Aletta Meijer (2020, supervisor), “Oh, How It Feels So Real”. An Examination of Authenticity in a Documentary about Elton John. [Tantrums and Tiaras (1997)]
Pieter Greup (2019, supervisor), The Sound of Alienation: Sound as Tool to Strengthen the Narrative in Michelangelo Antonioni’s Il deserto rosso.
Hidde Robeer (2019, supervisor), Beeldcomposities in Stanley Kubrick’s The Shining (1980).
Britt van Sloun (2019, second reader), Ideology Critique in Dogtooth (Yorgos Lanthimos, 2009): The Role of Language in the Process of Interpellation.

Upcoming theses (BA)
Rosita Safakisch (2022, second reader), West Side Story: De maatschappelijke en esthetische vergelijking van de verfilmde musical West Side Story.

Theses (BA)
Daphne Dake (2022, supervisor), Repainting a Picture: Tableaux Vivants in the Historical Film Il Decameron (1971)
Jervey de Vries (2022, second reader), Het Louvre overschaduwd door blackness: De cultureel-activistische juxtapositie tussen de zwarte mens en witte kunst in Apeshit.
Joshuar Gomez (2022, supervisor), Post-colonial Exhibitions: Engaging the Public in Collective Discourses Through Social Media (Slavery, Rijksmuseum)
Mariquel Fraai (2022, second reader), Posters as a Form of Communication: A Comparative Analysis of Different Beauty and the Beast Posters Made by Disney and Pathé between 2014-2017.
Adike van der Helm (2020, second reader), De controversiële modefotografie van Helmut Newton: tussen kunst & pornografie.
Selina de Lannoy (2020, supervisor), Maleficent. Een analyse van de kostuums in Sleeping Beauty (1959) en Maleficent (2014).
Janneke de Haas (2019, supervisor), Droomstad of nachtmerrie? De representatie van New York City in film [Manhattan/Taxi Driver]
Shannen Knol (2019, supervisor), (De)constructions of Hollywood: Quoting Sunset Boulevard (1950) and the Hollywood Dream Factory in Mulholland Drive (2001).
Tamara Klopper (2019, supervisor), De handtas als stille verteller in Jean-Luc Godard’s A’ bout de souffle (1960). De narratieve rol en de betekenis van het vrouwelijke symbool in films.
Rixt Weeber (2019, supervisor), De harde les van de fallen woman. Verbeelding van vrouwelijke seksualiteit in Baby Face (1933) voor en na het censuurbeleid van de Production Code.
Linde Mouw (2018-19, supervisor), De negatieve beeldvorming van de allochtoon in de film Alleen maar nette mensen (Lodewijk Crijns 2012).
Alana Stapper (2018, supervisor), Flashing back to Film Noir: Van nordic noir terug naar klassieke film noir. [The Maltese Falcon/ Blade Runner/ The Bridge]
Keesha Winter (2018, supervisor), Tussen utopie en dystopie: de verbeelding van de toekomstige stad in Elysium (2013) en Metropolis (1927).
Anouk Bühlmann (2018, supervisor), Roaring Set Design: Het interieur in de film The Great Gatsby (2013).
Stefanie Mulder (2017, second reader), Een stilistische kruisbestuiving tussen stilstaand en bewegend beeld. Op basis van een casestudy waarin een fotoboek en een documentairefilm van Ed van der Elsken over hetzelfde thema geanalyseerd worden.
Roberto Luis Martins  (2016-2017, supervisor), Fashioning film. The translation from KENZO’s style to its fashion film Music is My Mistress (2017).
Laura Franken (2017, second reader), En toen was er licht. Licht in Silent Hill.
Emma Herlaar (2017, second reader), De veelzijdigheid van Rome als filmstad (een vergelijking tussen het insider en het outsider perspectief).
Iris van der Kolk (2015-2016, second reader),  ‘Sense of agency’ en de perceptie van tijd in de game Prince of Persia: The Sands of Time (2003) en de film Prince of Persia: The Sands of Time (2010).
Mariëlle Salh (2015-2016, supervisor), The Hills are Alive with the Sound of Hitler. De verbeelding van het Nationaalsocialisme in Hollywoodmusicals.
Samantha Brouwers (2015-2016, supervisor),  Er was eens…. een boekverfilming. Theoretische en empirische analyse van twee literaire en twee filmische versies van Cinderella/Assepoester.
Aaron Peterer (2009-2010/2015, second reader), The Myth of Winnetou – from Classic Novel to Adaptation: A Cinematographic and Comparative Analysis.
Stephanie Pronk (2014, third reader), Vrouwelijkheid in fictiefilms rond 1960. Een analyse naar vrouwelijke personages in Jenny (1958) en Makkers staakt uw wild geraas (1960).
Cristina Marques-Moran (2013, supervisor, premaster thesis), Spectatorship of moving image art installations in the museum gallery: Oskar Fischinger (1900-1967) at the EYE film museum.
Niki van Gemerden (2013, second reader), Crisis in representatie, kennis en tijdsverloop. Trauma en flashbacks in Alain Resnais’ Hiroshima mon amour.
Zelah Dorrestijn (2012, with Rieta Bergsma), Nederlandse filmaffiches 1920-1940.
Sanne de Rooij (2007-2010), Best goed, voor een Nederlandse film!
Annelieke Plugge  (2009-2010, with Laura Copier), Diva’s in Beeld. Vroege Italiaanse filmaffiches in de Desmet-collectie 1905-1920.
Sarah Schouten (2009), De Kunst van het Gluren. De narratieve waarde van point-of-view shooting [Rear Window/Strange Days/Le Scaphandre et le Papillon].
Anouka Slemmer (2008-9), De geplaagde wereld. Verbeelding van de postepidemische toestand in sf-cinema [I Am Legend, Resident Evil: Extinction, Children of Men].
Nanda Appelman (2008-9, second tutor), Geluid in horrorgames- en -films: Silent Hill 2: Restless Dreams (2001) vs. The Blair Witch Project (1999).
Rianne Wijmenga (2007-8), Frysk bloed tsjoch op. Over de karakteristieke eigenschappen van de Friese film.
Bas Peters (2006-8), De gangsterfilm revisited. [a.o. Scarface, Casino]
Martijn Pool (2007-8, second reader), Amerikaanse kunstfotograaf Gregory Crewdson: idealistische ‘appropriation’ kunstenaar of commerciële copy-cat?
Stefan de Graaf (2007), Narrativiteit en Jean-Luc Godard.
Eva de Mooij (2006), De monoloog van de popsong [The Graduate/Armageddon]
Jorinde Speelman (2006) Het beeld van een kind in de Italiaanse film [Io non ho paura/ Caterina va in città]
Pieter van Koetsveld (2005), Woher die Angestellten? Een interpretatie van Metropolis aan de hand van Siegfried Kracauers werk Die Angestellten.
Rixt Jonkman (2003-5), De distributeur als programmeur. Distributie en programmering van films door Jean Desmet tussen 1910 en 1912.
Annemieke Ruijgrok (2005), Fictie tegenover werkelijkheid. The Blair Witch Project nader bekeken.
Johanna de Ruiter (2004-5), Film, postmodernisme & ruimte. Verkennend onderzoek naar postmodernistisch ruimtegebruik in film. [Taxi Driver/Falling Down]
Yula Altchouler (2004-5), Cinestud, the Ideal Filmfestival, 1960-2005.

Rixt Weeber, Amsterdams Fonds voor de Kunst (2021)
Maaike te Kulve, Stedelijk Museum (2020)
Lotte Vermeer, Adelheid & Zina (2020)
Sophie Smeets, Mr. Motley (2018)
Femke Pijls, Stedelijk Museum (2015)
Konstantinos Dranganas, Waag Society (2014)
Robin Kleine, EYE (2014)
Katayoun Arian, Amsterdams Fonds voor de Kunst (2014)
Dan Angelescu, Kunstverein (2013)
Silvie van Oost, IDFA (2013)
Ilse van Brakel, Roze Filmdagen (2013-2014)
Shane Neifer, Europeana/Sound & Vision (2013-2014)
Ada Kowalczyk, EYE (2013)
Sarah Cohan, Waag Society (2012-2013)
Alexandra Mihali, Jeanine Hofland Gallery for Contemporary Art (2012-2013)
Winnie Hofmeester, Amsterdam Museum (2012-2013)
Eva Verboon, EKKO (2012)
Anne van Oppen, EYE, Experimental Cinema (2011)
Lonneke Geerlings, EYE, Communication (2011)
Bram Davis, Independent Films (2011-2012)
Marlies Havenga, Museumkompas/Crossmedialab (2011)
Jeske van der Slikke, Netherlands Film Festival (2011)
Abigail Prade, EYE (Filmmuseum) (2011)
Anne Heijligers, Vice (2010-11)
Annelieke Plugge, Today’s Art (2009)
Rianne Wijmenga, Cinemien (2009)
Marjolein Imminga, Filmmuseum, Communication Department (2009)
Caterina Bascerano, Filmmuseum, Poster Archive (2007)
Sanne de Rooij, Cultuurfabriek, Beamlab (2007)
Mareile Menninger, Filmmuseum, Catalogue (2007)
Anouka Slemmer, Amsterdam Film Experience, festival shorts (2006)
Stefan de Graaf, Stimuleringsfonds (2006)
Andjelie Ramautar, Filmmuseum, Communication & marketing (2006)
Alice Braun, Filmmuseum, Education (2006)
Bas Peters, Filmmuseum, Communication (2005-6)
Gerdien Smit, Stimuleringsfonds (2005-6)
Annemieke Ruijgrok, Stimuleringsfonds (2005)
Jesse Moerkerk, VPRO, Cinema.nl (2005)
Brigitte Oele, Filmmuseum, Communication (2005)
Bas Mulder & Annejet Riedijk, Exposorium, film poster exhibition, Vrije Universiteit (2004-5)
Jorinde Speelman, Filmmuseum, Project realisation (2004-5)
Yula Altchouler, Filmmuseum, Project realisation (2004)
Rixt Jonkman, Filmmuseum, research internship Desmet collection (2003-4)
Agnes Kiss, Gemeentearchief Amsterdam, home movies collection (2003)
Fedde Jasperse, Docuzone, distribution documentaries (2003)

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