'Movement is Power': Aesthetics and Politics of Motion in East German Experimental Cinema

我所提出的项目旨在探讨实验和先锋电影如何在德意志民主共和国内发挥政治功能。具体来说，我将把运动现象视为东德实验电影中的一种美学和话语手段。电影制作人经常尝试不同的方式来让事物移动（动画，电影，实验配乐），以及民主德国后期的许多相关政治问题都是通过运动的隐喻来构建的，比如进步，（或停滞）的历史和记忆的工作，身体机构和活动作为一种手段，以抵抗，以及马克思列宁主义形而上学核心的物质和运动的二分法。我的假设是，民主德国的实验电影制片人利用他们的实验到（帕拉）电影运动框架的政治颠覆和论战的批评民主德国社会。这项工作将有助于电影研究和德国研究。在电影研究中，我的目标是提供一个严格的分析，如何实验电影是嵌入在政治话语，而不是尽管，但通过其正式的实验，一个模型，适用于民主德国和超越;在德国研究，我的目标是多样化目前的奖学金对德国前卫文化，其中包含一个显着的差距在考虑东德实验电影。

My proposed project aims to interrogate how experimental and avant-garde cinema fulfilled a political function within the German Democratic Republic. Specifically, I shall consider the phenomenon of motion as an aesthetic and discursive device within GDR experimental cinema. Filmmakers frequently experimented with different ways of making things move (animation, screendance, experimental soundtracks), and many pertinent political questions in the late stage of the GDR are framed through metaphors of motion, such as the progress (or stagnation) of history and memory work, bodily agency and activity as a means towards resistance, and the dichotomy of matter and motion which lies at the heart of Marxist-Leninist metaphysics. My hypothesis is that GDR experimental filmmakers used their experiments into (para)cinematic motion to frame politically subversive and polemical critiques of GDR society. This work would contribute both to Film Studies and German Studies. In Film Studies, I aim to provide a rigorous analysis of how experimental cinema is embedded in political discourse not despite, but through its formal experimentation, a model which applies to the GDR and beyond; and in German Studies, I aim to diversify current scholarship on German avant-garde culture, which contains a notable gap in consideration of East Germanexperimental cinema.