Abstract The films of Guy Maddin, from his debut feature Tales from the Gimli Hospital (1988) to his most recent one, The Forbidden Room (2015), draw extensively on the visual vocabulary and narrative conventions of 1920s and 1930s German cinema. These cinematic revisitations, however, are no mere exercise in sentimental cinephilia or empty pastiche. What distinguishes Maddin’s compulsive returns to the era of German Expressionism is the desire to both archive and awaken the past. Careful (1992), Maddin’s mountain film, reanimates an anachronistic genre in order to craft an elegant allegory about the apprehensions and anxieties of everyday social and political life. My Winnipeg (2006) rescores the city symphony to reveal how personal history and cultural memory combine to structure the experience of the modern metropolis, whether it is Weimar Berlin or wintry Winnipeg. In this paper, I explore the influence of German Expressionism on Maddin’s work as well as argue that Maddin’s films preserve and perpetuate the energies and idiosyncrasies of Weimar cinema.

中文翻译：

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从魏玛到温尼伯：德国表现主义和盖伊·马丁

摘要盖伊·马丁（Guy Maddin）的电影从其首演的电影《吉姆利医院的故事》（1988）到最近的一部电影《禁忌室》（2015），都大量借鉴了1920年代和1930年代德国电影的视觉词汇和叙事惯例。但是，这些电影般的重演不只是在感性的电影摄影或空的模仿活动中进行。麦丁对德国表现主义时代的强迫回归之所以与众不同，是因为人们既渴望存档又唤醒过去。麦迪（Maddin）的山地电影《小心翼翼》（Careful，1992）使一种过时的流派复活，以提出关于日常社会和政治生活的忧虑和焦虑的优雅寓言。我的温尼伯（My Winnipeg，2006）对城市交响曲进行了重述，以揭示个人历史和文化记忆是如何结合起来构成现代大都市的体验的，无论是魏玛·柏林还是冷漠的温尼伯。在本文中，我探讨了德国表现主义对马丁作品的影响，并指出马丁的电影保留并延续了魏玛电影院的能量和特质。