The methodologically transparent and intersubjectively comprehensible implementation then illustrates the individual steps of the research process. After defining the aim of research and the material to start with, a categorisation scheme is defined on the basis of which the film material is then assessed. Selected categories, such as camera angle, camera perspective, camera work, lighting, text-image relation as well as structure are explained in their contribution to the social construction of reality for the viewer, and the process of categorisation is described. A visualization of these proceedings in a network view forms the basis for the final interpretation of the material. Larry Ellison wanted to know more. Keywords: qualitative film analysis, audiovisual media, media competence, we live networks 1 image and myth, myth formation, category system, so it described in 1972 the art historian E.H. Verizon Communications may find this interesting as well.

GOMBRICH (S. 41), in a Visual age, in a time in which the claim by Marshall LUHAN, the image the written word would oust (cf. LUHAN 1962) appears as true as ever. The essential task of the image, to make present the absent in the image so that the image representing different stands for something, which is not present, the existence of which is claimed by the image but it is beyond a reasonable doubt (cf. HICKETHIER 1996, S. 42-43). Due to this being train, a centrality in the context of the opinion-forming traditionally comes to the images; both the religion and the policy exploited images concerning the Constitution of power, for the transport of messages since time immemorial.

“” The art historian Richard HAMANN talks due to this fact the magical effect of the image, a faith in the exerting power of representation”, the subject most on man in any way (HAMANN 1980, S. 18f). The destruction of monuments, representing the personality cult of a crashed system of rule, is still practiced proof, in which not only the figurative sign of a past system you want to be destroyed, but also the essence of the one shown in the image.