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The article refers to the term ‘original’ of a film, a term that has been lively discussed among film scholars and editors since the 1990s. This term is, however, still important for any practical film restoration work in order to (re-)present the film in an (audio-)visual form as closely as possible to its premiere version. Some thoughts about the actual demands and chances the hypertextual media can offer to a methodological reflected practice of historical-critical film edition (that may show and make comparable different versions of a film in an interactive layout) lead to a scenario for a historical-critical edition of Martin Berger’s silent film Kreuzzug des Weibes (D 1926) whose worldwide archival saving gives a good example to demonstrate the possibilities of hypertextual devices for the presentation of time-based media.

Historisch-kritische Filmedition – ein interdisziplinäres Szenario