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

在当前以政治为主要内容的宣言数量急剧增加及其各种议程的背景下，本研究项目试图系统地评估电影宣言的历史，一般特征以及特别是电影宣言的用途。自世纪早期电影首次出现以来，人们认为，电影作为一种地震仪，显示了断裂、过渡和阶段，这些断裂、过渡和阶段以某种方式被证明对电影及其历史至关重要。作为一种批判（重新）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情境中的意义的要素的比例。电影宣言所倡导的作为活动家文本的议程的实施，差别很大。它们同样指的是电影的美学和经济学，指的是制度框架以及电影所涉及和煽动的公共领域。该项目基于大约400个文本，大多是相当短的文本，试图建立一个建立在电影研究基础上的电影宣言研究。由于教科书涉及的问题范围广泛，从电影历史到电影地理，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地多样化。因此，研究提案包括三个相互依存的子项目，它们在方法、专题重点和历史范围方面相互补充。子项目1在文本内层面上探讨电影表现形式的构成要素，并对文本形式和功能进行了历史上广泛的类型学分析。子项目2，相反，提供了一个深入的分析电影宣言的女权主义电影集体起源于20世纪70年代和80年代的跨国。次级项目1主要以文本细读为基础，而次级项目2则根据历史上具体的宣言清单，扩大范围，将其文化、话语和体制背景包括在内。子项目3将由两位主要研究者领导，并联系相关学术机构（拜罗伊特/耶拿）。它也为子项目1和2提供了一个总体的参考框架，因为它承担了合作奋进，将电影表现的历史（重新）写为电影的媒体历史。在这个广泛的视角下，电影宣言将被解读为危机管理中的一项持续努力，试图重新校准电影在给定和未来环境下的意义。

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.