Figurations of Difference in Moving Images.

这部电影研究的研究项目调查的差异比喻。它从最初被认为是孤立现象的概念开始，如性别差异、种族差异和人类学差异。该项目包括三个部分项目，每个项目都通过关系性的总体理论原则相互连接。本文的目的是在假设这些差异维度是相互联系的基础上，通过话语分析和客体分析的动态结合，对差异维度进行追踪和理论评估。第一部分，“古典女性电影中差异的倍增”，从差异的分期角度重新评价了20世纪30年代和40年代好莱坞电影的话语。分析不再继续关注单一差异（如性别），而是假设差异的生产力是多重的。第二个部分项目，体育电影差异的相互联系分析了身体的电影阶段，编码为运动对媒体文化的种族，年龄或身体（在）能力的人类分化的箔。在动物纪录片的人类学差异的标题下，第三部分项目考察了动物纪录片领域的最新作品，这些作品从美学上反映了其他差异对人类-动物差异的叠加。在关注差异的复杂形象时，整个项目作为一个整体旨在促进对差异谱系的讨论，此外，还说明了三种异质材料（例如，从体裁的角度来看）显示出令人惊讶的相似之处，并可以就其具体的差异阶段相互联系。在差异比喻的双重姿态中--作为本项目提出的中心理论问题，同样，也是各部分项目之间的方法论联系--研究项目的总体目标是对单一差异的概念进行批判。

This film studies research project investigates figurations of difference. It starts from concepts that have been primarily thought of as isolated phenomena, such as gender difference, ethnic difference and anthropological difference. The project comprises three partial projects, each connected to one another by an overarching theoretical principle of relationality. The aim is to trace and theoretically evaluate dimensions of difference, by proceeding upon the assumption that these dimensions are interconnected, and by means of dynamic combination of discourse analysis and object analysis. The first partial project, The Multiplication of Difference in Classical Women’s Film, reappraises the discourse on Hollywood film of the 1930s and 1940s in light of its stagings of difference. Instead of continuing to focus on single differences (such as gender), the analysis assumes the productivity of difference in its multiplicity. The second partial project, The Interlinking of Difference in Sports Film analyses the film stage of the body, coded as athletic against the foil of media-cultural human differentiation of ethnicity, age, or physical (in)capacity. Under the title of Anthropological Difference in Animal Documentary, the third partial project examines more recent productions from the realm of animal documentaries that aesthetically reflect on the superimposition of other differences onto human-animal difference. In focusing on complex figurations of difference, the overall project as a whole aims to contribute to the discussion on the genealogy of difference and, moreover, to illustrate the extent to which three heterogeneous bodies of material (e.g., from the genre perspective) display surprising parallels and can be interconnected with regard to their specific stages of difference. In the double gesture of figurations of difference – as the central theoretical question posed by this project and, likewise, the methodological link between the partial projects – the overarching goal of the research project is the critique of the idea of singular difference.