Here are two films that both look at history through archival footage and music, focusing on the relationship between the oppressor and the oppressed, both choosing to move beyond the confines of official historiography. While they share many common points, the two films also diverge in significant ways. As part of this section, a conversation will be held with Cem Kaya, the director of Love, Deutschmarks and Death, on creating a narrative through the use of archival images