Since the mid-1960s, several New York-based artists have used intermedia and intertextuality to explore the archive’s role and nature beside related concepts like the index and the trace. This chapter examines how intermedia and the archive pertain to two related case studies from late-twentieth-century New York. The first, is John Zorn’s 1985 arrangement of Kurt Weill’s song ‘Der kleine Leutnant des lieben Gottes’. In this arrangement, Zorn evokes mental images of the Weimar Republic, transforming Weill’s song into a montage of disjunct musical styles. Not only is the historical moment of Weill’s song represented by Zorn’s arrangement, but the audiovisual medium of cinema is compressed into sound alone—typical of the ‘contracted cinema’ made in New York during the 1970s. My second case study is a cinematic adaptation of Zorn’s arrangement, made by experimental filmmaker Henry Hills and dance choreographer Sally Silvers, titled Little Lieutenant. This adaptation uses archival footage from the Weimar era to realise the audiovisual potential latent in Zorn’s music. As I show, Little Lieutenant also entails several intermedial transferences, playing with the boundaries between cinema, music, and dance.