Regional film culture in Brandenburg: the film archive of HFF "Konrad Wolf"

勃兰登堡地区电影文化的研究重点是更大的海森堡音像遗产教授职位的一部分。音像遗产的问题，在这里考察了一个示范性的微观分析的形式，一个地区的电影文化使用具体的案例研究。子项目是关于电影大学和波茨坦电影博物馆的合作。HFF康拉德·沃尔夫电影资料馆（现为巴别尔斯堡电影大学康拉德·沃尔夫）是研究区域电影文化的案例之一。自1954年建校以来，大约有4000部学生电影出现在这里。HFF是德国最古老的电影学院，也是共产主义时期唯一的东德电影制作人培训中心；它的电影库存，包括DEFA的整个学生电影遗产，具有一定的电影史意义，将在该项目中首次进行科学评估。它主要是在欧洲电影文化中对东德学生电影的语境化，这首先是在巴别尔斯堡电影学院提供相对自由的背景下进行的。除此之外，国际电影史上的电影，尤其是欧洲电影的发展，也为实验相应的电影理念提供了机会。正是在这个空间里，j<s:1>根Böttcher、Kurt Tetzlaff、Volker Koepp、Petra Tschörtner和Andreas Dresen等导演的第一批电影诞生了，并与他们一起为东德电影的复兴创造了不同的设计。首先，该项目旨在证明20世纪50年代至80年代欧洲电影文化之间的联系，从意大利新现实主义的借用开始，并继续从东欧和西欧的导演电影中进行各种挪用。其次，它试图找出典型的方法，作者和电影学院自己的电影立场出现在借用之后，并超越，以回应意识形态动机的指导方针和审查制度。将发展电影历史和电影美学叙事和概念，使其不仅可以从局限于民主德国的视角来看待东德电影的学生开端，正如在DEFA研究中长期以来所习惯的那样，而且还可以使其作为欧洲电影史和文化的轮廓部分清晰可见。

The research focus Regional film culture in Brandenburg is part of the larger Heisenberg Professorship for Audiovisual Heritage. Questions of audiovisual heritage are examined here in the form of an exemplary microanalysis of a regional film culture using concrete case studies. The subprojects are related to the cooperation between the Film University and Film Museum Potsdam. The HFF Konrad Wolf Film Archive (now: Film University Babelsberg KONRAD WOLF) is one of the case studies with respect to the investigation of the regional film culture. It is home to approximately 4,000 student films that have arisen at the institution since its founding in 1954. The HFF is the oldest German film school and was the only training centre for East German filmmakers during the communist era; its film stock, which includes the entire student film heritage of the DEFA, is of some film-historical significance and will be scientifically evaluated for the first time within the project. It is primarily a contextualisation of the East German student films within the European film culture, which is first and foremost against a backdrop of relative freedom offered by the film school in Babelsberg. And to which, among others, the availability of films from throughout the international history of film and the current, especially European, developments in film, also belonged as an opportunity to experiment with the corresponding cinematic ideas. It's in this space that the first films by directors such as Jürgen Böttcher, Kurt Tetzlaff, Volker Koepp, Petra Tschörtner, and Andreas Dresen came to be and with them created different designs for a renewal of East German cinema. First and foremost, the project aims to prove the links between the European film culture from the 1950s to 1980s, beginning with borrowings from Italian Neorealism and continuing in various appropriations of auteur cinema from Eastern and Western Europe. Secondly, it seeks to work out the approaches typical among authors and film school to its own cinematic positions that emerged in the wake of the borrowings and beyond that, in response to ideologically motivated guidelines and censorship. Film historical and film aesthetic narratives and concepts will be developed that make it possible to not only look at the student beginnings of East German cinema in a perspective limited to the GDR, as has been customary for a long time in the DEFA research, but to also make it legible as a contoured portion of European film history and culture.