The warehouse was damaged by an incendiary bomb on 7 May. Eva Strusková suggests that Günther may have ordered the film to be destroyed. There is no proof that Theresienstadt was in the warehouse, so it is possible that the film was otherwise lost. Historiography In the postwar era, the film was considered lost, but continued to be the focus of discussion. The RSHA archives were burned in 1945, so the Nazis' paperwork relating to Theresienstadt was also destroyed. Less than 25 minutes of footage were later discovered in various archives. Allegedly, Přemysl Schönbach discovered fragments of the film in Mšeno in May or June 1945. He kept them in a private archive, but showed them to Vladimír Kressl, a lecturer at the Film and TV School of the Academy of Performing Arts in Prague in 1964, which resulted in a copy of the footage being deposited into the Czechoslovak national archives that same year. Also in 1964, Schönbach provided a copy to Michael Bornkamp, a West German journalist, who subsequently used the footage in a documentary So schön war es in Terezin (It was so nice in Terezín), which was screened at the 1965 Oberhausen Film Festival. Schönbach was sentenced to a three-year suspended sentence for causing financial loss to the Czechoslovak nation. Drubek introduces a different perspective on the politically motivated use of 'found' or 'discovered' Nazi film fragments in Communist Czechoslovakia, relating it to attempts to influence West-German politics during the Cold War, so the statute of limitations for acts of murder during the war would not end in 1965. In 1965, the Czechoslovak authorities made their own documentary based on the footage, Město darované (The Given Town), which is still used by the Terezín Ghetto Museum today. Fragments of the footage including the title sequence were discovered in a former Gestapo building in Prague by former prisoner Jiří Lauscher at an unknown date and transferred to an Israeli archive, where they were rediscovered in 1987. A speech made by Paul Eppstein was discovered in Prague in 1997. The Israeli footage was broken into 24 fragments, the shortest of which was only one frame and the longest of which was two minutes. Another important source of information on what was filmed is the sketches of Jo Spier, a Dutch Jewish illustrator who observed the filming and made 332 sketches of scenes from the camera's viewpoint. Although some