Everybody: A Transnational Iconography

该项目旨在为每个人的形象绘制一幅文化历史肖像图，并特别关注其最近的历史。“Everyone”指的是一种在电影和摄影中使用的人物，也可以在政治宣传、广告或互联网上使用，以吸引我们所有人，并证明所描绘的事情的真相或现实。这些数字在普通的男人、普通的女人、“普通的男人/女人”、“街上的男人”、“隔壁的女孩”或“一般的人”等术语下是熟悉的。所有这些人物经常被赋予乌托邦的角色，对当前的事物秩序提出批评。然后，他们以“新男人/新女人”的身份出现，从而成为“新生活”神话的载体。视觉媒介自20世纪头十年以来已成为社会话语的文化主导传播渠道，本研究主要关注视觉媒介中每个人的形象是如何出现的。在制定这样的图画时，该项目特别关注从“有组织的”现代性的员工文化向晚期或后现代的创造性文化过渡的时期--也就是大约从1960年到现在。然而，这一时期并不被视为同质的“区块”。相反，两个过渡时期将被更详细地研究：1968年前后的剧变和1990年前后的时期，这两个时期通常被描述为“福利国家的终结”。研究的起点是每个人的电影表现--在研究过程中，以电影为媒介，补充了其他视觉媒体(政治广告、产品广告、媒介艺术、摄影和互联网)的例子，这些媒体对每个人的视觉形象做出了重大贡献，是两个主要调查时期的特征。在这一研究框架内，研究项目将追求三个主要目标：第一个目标是为1960年以来的每个人的形象绘制一幅多元化的跨国肖像。第二种方法是将每个人的模范人物放在政治民主人物普及的更长传统中，这一传统始于18世纪和19世纪向潜在的共和或民主政治制度的转变。第三是批判性地、比较地讨论当前的哲学概念化，将每个人作为一种思维来诊断当下，因为它们出现在与所研究的视觉文化的例子有关的地方。通过完成这些目标，该项目将分析每个人的形象在当代背景下所发挥的调解、社交和动员作用，其特点是增加流动的、多元化的、往往是短暂的群体建设过程，通过对“个人主动性”的颂扬和对普遍的明显怀疑。

This project aims to draw up a cultural-historical iconography of the figure of the everybody, with a particular focus on its more recent history. "Everybody" refers to a type of figure used in films and photography, but also in political propaganda, advertising or in the internet, to appeal to all of us and to testify to the truth or reality of what is portrayed. These figures are familiar under terms like the common man, common woman, "everyman/woman", "the man in the street", "the girl next door" or "people in general". All these figures are often accorded a utopian role that is critical of the present order of things. They then appear as a "new man/ woman" and thus function as vehicles of a myth of a "new life". This research project concentrates on how the figure of the everybody appears in visual media, which since the first decades of the 20th century have become the culturally dominant dissemination channels of social discourses. In drawing up such an iconography the project focuses in particular on the period of transition from the employee culture of "organised" modernity to the creative culture of late or post-modernity - that is, from approximately 1960 to the present. However, this period is not regarded as a homogeneous "block". Instead, two periods of transition will be looked at in greater detail: the upheaval around "1968" and the period around 1990, which is often described under the catchphrase "the end of the welfare state". The starting point of the study is film representations of the everybody - with the medium of film being supplemented in the course of the research by examples of other visual media (political advertising, product advertising, intermedia art, photography and the internet) that have contributed significantly to the visual figuralisation of the everybody and are characteristic of the two main investigation periods. Within this study framework the research project will pursue three primary objectives: The first objective is to draw up a plural and transnational iconography of the figure of the everybody since 1960. The second is to locate exemplary figures of the everybody in a longer tradition of political-democratic figures of popularisation that began with the change towards potential republican or democratic political systems in the 18th and 19th centuries. The third is to critically and comparatively discuss the current philosophical conceptualisations of the everybody as a figure of thought for the diagnosis of the present as they appear in relation to the examples of visual culture being studied. By completing these goals the project will analyse the mediating, socialising and mobilising role the figure of the everybody exercises in a contemporary context, marked by increasing mobile, plural and often transitory group-building processes, by a celebration of "individual initiative" and a pronounced scepticism vis à vis the universal.