ABSTRACT

As surveillance (its role in policing and regulating behaviours in societies understood to be “free� and its relationship to privacy and intimacy) becomes an increasingly pressing and relevant contemporary concern, and as more and more contemporary films interrogate technologies of surveillance and reflect on film’s place within such contexts, it is perhaps a good time to pull into the contemporary moment representations of surveillance from the East German State that devoted significant resources to developing and implementing technologies of surveillance and enjoyed a robust cinematic tradition. Thus, this essay explores how Roland Gräf’s Die Flucht (1977) exposes surveillance as a series of gendered and engendering practices that are inscribed and invented, re-inscribed and reinvented, in multiple contexts and shows how reading non-linearly (a strategy promoted by Vicki Callahan in Reclaiming the Archives) reveals the remarkably similar deep-structures of this DEFA film and contemporary commercial films about surveillance.

摘要

随着监视（它在被理解为“自由”的社会中监管和规范行为的作用及其与隐私和亲密关系的关系）成为当代日益紧迫和相关的问题，并且随着越来越多的当代电影质疑监视技术并反映就电影在这样的背景下的地位而言，也许是时候将东德国家投入大量资源用于开发和实施监控技术并享有强大的电影传统的当代监控表现。因此，本文探讨了 Roland Gräf’s Die Flucht(1977) 将监视揭露为一系列性别化和性别化的实践，这些实践在多种背景下被铭刻和发明、重新铭刻和再造，并展示了非线性阅读（维姬卡拉汉在收回档案中提倡的策略）如何显着揭示这部 DEFA 电影和当代关于监视的商业电影的深层结构相似。