Abstract In 1967 at the fourth exprmntl film festival in Knokke Belgium, a group of German activist film students led by Harun Farocki sought to disrupt screenings with politically engaged happenings. Rejecting these protests, Birgit and Wilhelm Hein returned to Cologne and with other inspired filmmakers co-founded Xscreen, an institution of underground, experimental, material, and independent films. Beginning with 1967/1968, the essay exams the post-World War II divergence of what Peter Wollen famously identified as “the two avant-gardes”: the split of New German Cinema from New German Avant-garde Film and of political narrative cinema from material experimental film. An emphasis on New German Cinema in (German) film studies has exiled experimental cinema from film histories into the realm of art history and visual culture studies. Inversely, this foreclosure has erased the political potential of West German experimental or avant-garde cinema from narratives about its 1968.

中文翻译：

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Xscreen 1968：物质电影美学和激进的电影政治

摘要 1967 年在比利时克诺克举办的第四届电影节上，一群由哈伦法罗基 (Harun Farocki) 领导的德国激进电影学生试图用政治事件来扰乱放映。拒绝这些抗议后，比尔吉特和威廉·海因返回科隆，并与其他受到启发的电影制作人共同创立了 Xscreen，这是一个地下、实验、材料和独立电影的机构。从 1967/1968 年开始，这篇文章检验了二战后彼得·沃伦 (Peter Wollen) 著名的“两个先锋派”的分歧：新德国电影与新德国先锋电影以及政治叙事电影的分裂。材料实验片。在（德国）电影研究中对新德国电影的强调已将实验电影从电影史放逐到艺术史和视觉文化研究领域。反之，