Regional film culture in Brandenburg: the film archive of HFF "Konrad Wolf"

研究重点区域电影文化在勃兰登堡是更大的海森堡教授视听遗产的一部分。视听遗产的问题在这里审查的形式，一个典型的区域电影文化的微观分析，使用具体的案例研究。这些分项目与电影大学和波茨坦电影博物馆之间的合作有关。HFF Konrad Wolf电影资料馆（现为：巴贝尔斯贝格电影大学Konrad Wolf）是区域电影文化调查的案例研究之一。自1954年成立以来，该学院已经出现了大约4，000部学生电影。HFF是最古老的德国电影学院，也是共产主义时期东德电影制片人的唯一培训中心;其电影库存，包括DEFA的整个学生电影遗产，具有一定的电影历史意义，并将在项目中首次进行科学评估。它主要是东德学生电影在欧洲电影文化中的语境化，这首先是在巴贝斯堡电影学院提供的相对自由的背景下。除其他外，国际电影史上的电影以及当前，特别是欧洲电影发展的电影的可用性也属于实验相应电影思想的机会。正是在这个空间里，第一批导演的电影，如尤尔根·伯切尔，库尔特·特茨拉夫，沃尔克·科普，佩特拉·切特纳和安德烈亚斯·德雷森，为东德电影的复兴创造了不同的设计。首先，该项目旨在证明20世纪50年代至80年代欧洲电影文化之间的联系，从意大利新现实主义的借鉴开始，并继续从东欧和西欧的导演电影中进行各种拨款。其次，它试图找出作者和电影学院中典型的方法，以应对意识形态动机的指导方针和审查制度，从而在借用之后及其之后出现自己的电影立场。电影历史和电影美学的叙述和概念将被开发，使之成为可能，不仅看在东德电影的学生开始在一个角度局限于民主德国，已经习惯了很长一段时间在DEFA的研究，但也使其清晰的欧洲电影历史和文化的轮廓部分。

The research focus Regional film culture in Brandenburg is part of the larger Heisenberg Professorship for Audiovisual Heritage. Questions of audiovisual heritage are examined here in the form of an exemplary microanalysis of a regional film culture using concrete case studies. The subprojects are related to the cooperation between the Film University and Film Museum Potsdam. The HFF Konrad Wolf Film Archive (now: Film University Babelsberg KONRAD WOLF) is one of the case studies with respect to the investigation of the regional film culture. It is home to approximately 4,000 student films that have arisen at the institution since its founding in 1954. The HFF is the oldest German film school and was the only training centre for East German filmmakers during the communist era; its film stock, which includes the entire student film heritage of the DEFA, is of some film-historical significance and will be scientifically evaluated for the first time within the project. It is primarily a contextualisation of the East German student films within the European film culture, which is first and foremost against a backdrop of relative freedom offered by the film school in Babelsberg. And to which, among others, the availability of films from throughout the international history of film and the current, especially European, developments in film, also belonged as an opportunity to experiment with the corresponding cinematic ideas. It's in this space that the first films by directors such as Jürgen Böttcher, Kurt Tetzlaff, Volker Koepp, Petra Tschörtner, and Andreas Dresen came to be and with them created different designs for a renewal of East German cinema. First and foremost, the project aims to prove the links between the European film culture from the 1950s to 1980s, beginning with borrowings from Italian Neorealism and continuing in various appropriations of auteur cinema from Eastern and Western Europe. Secondly, it seeks to work out the approaches typical among authors and film school to its own cinematic positions that emerged in the wake of the borrowings and beyond that, in response to ideologically motivated guidelines and censorship. Film historical and film aesthetic narratives and concepts will be developed that make it possible to not only look at the student beginnings of East German cinema in a perspective limited to the GDR, as has been customary for a long time in the DEFA research, but to also make it legible as a contoured portion of European film history and culture.