The Film Manifesto. History, Aesthetics, and Mediality of an Activist Form

在当前以政治宣言为主的宣言及其各种议程急剧增加的背景下，本研究项目试图系统地评估电影宣言的历史、一般特征以及用途。有人会说，自20世纪初它们首次出现以来，电影宣言就像地震仪一样，以某种方式表明了对电影及其历史至关重要的破裂、转变和阶段。作为一种批判性（再）评价的手段，电影宣言有助于思考和调节构成电影和电影在特定历史时刻的意义的元素的比例。电影宣言作为积极文本倡导的实施议程差异很大。它们同样涉及电影的美学和经济学，涉及制度框架以及电影所涉及和煽动的那种公共领域。该项目以大约400篇短文为基础，试图建立一种基于电影研究的电影宣言研究。由于文本涉及一系列广泛的问题，从电影史到电影地理，再到性别和种族、金融和政治问题，因此，方法方法也必须相应地多样化。因此，研究建议包括三个相互依赖的子项目，它们在方法方法、专题重点和历史范围方面相互补充。子项目1在文本内的层面上探讨了电影宣言的构成要素，并绘制了文本形式和功能的历史广泛类型。相反，子项目2对起源于20世纪70年代和80年代的跨国女权主义电影集体的电影宣言进行了深入分析。子项目1主要基于对文本的仔细阅读，子项目2扩大了范围，基于对宣言的历史特定清单，包括其文化，话语和制度背景。分项目3将由两位主要研究人员领导，并与所涉及的学术机构（拜罗伊特/耶拿）建立联系。它也为子项目1和子项目2提供了一个总体的参考框架，因为它承担了合作的努力，将电影宣言的历史（重新）写成电影的媒体史。从这个广泛的角度来看，电影宣言将被视为危机管理的持续努力，试图在给定和未来的情况下重新校准电影应该意味着什么。

Against the backdrop of a currently steeply increasing number of mainly political manifestos and their various agendas, the research project tries to assess systematically the history, the generic features as well as the uses of film manifestos in particular. Since the early 20th century when they first came up, film manifestos, it will be argued, indicate, as a seismographic device, the rupture, transitions and phases that one way or the other prove to be critical for the film and its history. As a means of critical (re-)evaluation, film manifestos help contemplating and regulating the ratio of the elements that make up what film and cinema mean in a specific historical conjuncture. The agendas whose implementation film manifestos advocate as activist texts, vary greatly. They equally refer to film’s aesthetics and economics, to the institutional framework as well as to the kind of public sphere that films address and instigate. Based on about four hundred, mostly rather short texts, the project tries to establish a film manifesto research that is founded in film studies. Since the texts address a broad array of issues, ranging from film history to film geography to questions of gender and race, finance and politics, the methodological approaches will, in turn, have to diversify accordingly. The research proposal, thus, encompasses three mutually dependent subprojects that complement each other in terms of methodological approach, thematic focus and historical reach. The subproject 1 addresses, on a intratextual level, the constitutive elements of film manifestos and draws up a historically broad typology of textual forms and functions. Subproject 2, instead, delivers an in-depth analysis of film manifestos by feminist film collectives that originate transnationally in the 1970s and 80s. While subproject 1 is based mainly on close readings of texts, subproject 2 broadens the scope, based on a historically specific inventory of manifestos, to include their cultural, discursive and institutional contexts. Subproject 3 will be led by the two principal investigators and link-up the academic institutions involved (Bayreuth/Jena). It, too, provides an overarching frame of reference for the subprojects 1 and 2, in that it undertakes the collaborative endeavor to (re-)write the history of film manifestos as a media-history of film. In this broad perspective, film manifestos will be read as an ongoing effort in crisis management that tries to recalibrate what film is supposed to mean under the given and future circumstances.