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

电影宣言。

• 批准号: 464983019
• 负责人: Professor Dr. Matthias Christen
• 金额: --
• 依托单位: Professur für Filmwissenschaft mit Schwerpunkt visuelle Ästhetik filmischer Medien
• 依托单位国家: 德国
• 项目类别: Research Grants
• 资助国家: 德国
• 项目状态: 未结题
• 来源: https://gepris.dfg.de/gepris/projekt/464983019?language=en
• 关键词: Film; Manifesto.; History; Aesthetics; Mediality

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.

在当前主要政治宣言及其各种议程急剧增加的背景下，该研究项目试图系统地评估电影宣言的历史、一般特征以及特别是其用途。有人认为，自20世纪初首次出现以来，电影宣言就表明，作为一种地震学装置，断裂、过渡和阶段被证明对电影及其历史至关重要。作为批判（重新）评估的一种手段，电影宣言有助于思考和调整构成电影和电影在特定历史时期的意义的元素的比例。其实施电影宣言提倡作为激进主义文本的议程差异很大。他们同样提到了电影的美学和经济学、制度框架以及电影所涉及和煽动的公共领域。该项目以大约四百篇（大多相当短的文本）为基础，试图建立一项以电影研究为基础的电影宣言研究。由于这些文本涉及广泛的问题，从电影史到电影地理，再到性别和种族、金融和政治问题，因此方法论方法也必须相应多样化。因此，该研究提案包含三个相互依赖的子项目，它们在方法论、主题重点和历史影响方面相互补充。子项目1在文本内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学。相反，子项目 2 对 20 世纪 70 年代和 80 年代跨国女权主义电影团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，而子项目 2 根据历史上特定的宣言清单扩大了范围，以包括其文化、话语和制度背景。子项目 3 将由两位主要研究人员领导，并将相关学术机构（拜罗伊特/耶拿）联系起来。它也为子项目 1 和 2 提供了一个总体参考框架，因为它承担了将电影宣言的历史（重新）写成电影媒体史的合作努力。从这个广泛的角度来看，电影宣言将被解读为危机管理方面的持续努力，试图重新调整电影在特定和未来情况下的含义。