Films and filming for a "better world" - Film criticism and social criticism in post-war Western Europe from the perspective of comparison, cultural transfer and entanglement

早在1932年，齐格弗里德·克拉考尔（Siegfried Kracauer）就在一篇文章中要求将电影批评与社会批评联系起来。本项目正是在20世纪50年代和60年代西欧大规模加速的社会经济和社会文化变化的历史背景下审查这种联系。对左派电影杂志的分析是本研究的核心，它在方法论上结合了比较历史、转移历史和纠缠历史的概念。它主要涉及1952年成立的意大利“新电影”，其编辑因政治原因不得不离职，1957年由学生电影爱好者创办的西德“电影评论”，以及类似的法国电影杂志。这些影评人群体与他们自己国家的其他关注第七艺术的出版物、英国和美国的杂志以及全国性日报的电影评论进行了讨论。这个项目的范围涵盖了他们最初的十年，并对他们进行了比较：关于电影批评的范式，电影和电影政策的理念，对电影“主流”的态度，社会分析，以及电影评论家与当时兴起的抗议运动和另类文化的联系。此外，参考转移历史和纠缠历史的前提，该项目旨在影评人之间的相互影响和跨国联系，在欧洲和电影节形成电影网络，作为这一过程的交流场所，最后在国家背景下接受国际趋势。跨大西洋的文化交流，如“旧世界”的电影评论家对好莱坞电影的接受，被详细地考虑到与欧洲内部文化转移的关系。

In an article written as early as 1932, Siegfried Kracauer had demanded the connection of film criticism with social criticism. This project examines precisely that connection against the historical background of the massively accelerated socio-economic and socio-cultural changes during the 1950s and 1960s in Western Europe. The analysis of leftist film magazines, which is the centrepiece of this study, methodologically combines the concepts of comparative, transfer and entangled history. It deals predominantly with the Italian "Cinema Nuovo", founded in 1952, whose editors had had to leave their former jobs for political reasons, with the Western German "Filmkritik" of 1957, which had been founded by student cineastes, and similar French film magazines. These groups of critics are discussed in relation to other publications focussing on the seventh art from their own countries, to British and American magazines, and to film criticism in nationwide daily press. The scope of this project encompasses their first decades and compares them to each other: concerning the paradigms of film criticism, the idea of film and film policy, the attitude towards filmic "mainstream", social analysis, and film critics' links to rising protest movements and alternative cultures of that era. Moreover, referring to the premises of transfer history and entangled history, the project aims at reciprocal influence and transnational contacts among film critics, at shaping filmic networks in Europe and at film festivals as a communicative arena for this process, and finally at the reception of international trends in national contexts. Transatlantic cultural exchanges such as the reception of Hollywood pictures by the "Old World's" film criticism are considered in detail and brought into relationship with inner-European cultural transfers.