Figurations of Difference in Moving Images.

这部电影研究的课题是考察不同的比喻。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。该项目由三个部分项目组成，每个项目都通过关系的总体理论原则相互联系。其目的是通过假设这些维度是相互关联的，并通过话语分析和对象分析的动态结合来追踪和从理论上评估差异的维度。第一个部分项目《古典女性电影中差异的倍增》根据差异的阶段重新评价了20世纪30年代和40年代的好莱坞电影话语。分析没有继续关注单一的差异(如性别)，而是假设差异的生产力具有多样性。第二个部分项目，体育电影中的差异链接分析了身体的电影阶段，编码为体育对抗媒体-文化人类种族、年龄或体能(In)分化的陪衬。第三个部分项目以动物纪录片中的人类学差异为标题，考察了动物纪录片领域的更新作品，这些作品从美学上反映了其他差异在人与动物之间的差异上的叠加。通过关注复杂的差异图形，整个项目的目的是促进关于差异谱系的讨论，此外，还旨在说明三个不同的材料实体(例如，从体裁角度看)在多大程度上显示出惊人的相似之处，并就其特定的差异阶段相互联系。作为本项目提出的中心理论问题，以及部分项目之间的方法论联系，在比喻差异的双重姿态中，研究项目的首要目标是对单一差异概念的批判。

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.