{"title":"东德迪斯科电影:德意志民主共和国想象(音乐)未来的中间途径","authors":"Melissa Elliot, Sonja Fritzsche","doi":"10.1353/gsr.2023.0037","DOIUrl":null,"url":null,"abstract":"abstract:Between 1975 and 1981, the documentary film group defa-futurum within the state-owned East German film studio DEFA (Deutsche Film-Aktiengesellschaft) made forty-one Discofilme (disco films). Twenty-seven of these were music videos of socialist “Beat” bands and were initially theorized as documentary films of the future. Ewa Mazierska’s analytical framework considers global pop rock as articulated through local culture and provides the basis of the present exploration into the complexities of transnational musical meaning making at the local level in the disco films. This intermedial analysis reveals the films’ full array of metaphor and allusion in portraying imagined (socialist) futures.","PeriodicalId":43954,"journal":{"name":"German Studies Review","volume":null,"pages":null},"PeriodicalIF":0.2000,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"The East German Disco Film: An Intermedial Approach to the GDR’s Imagined (Musical) Futures\",\"authors\":\"Melissa Elliot, Sonja Fritzsche\",\"doi\":\"10.1353/gsr.2023.0037\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"abstract:Between 1975 and 1981, the documentary film group defa-futurum within the state-owned East German film studio DEFA (Deutsche Film-Aktiengesellschaft) made forty-one Discofilme (disco films). Twenty-seven of these were music videos of socialist “Beat” bands and were initially theorized as documentary films of the future. Ewa Mazierska’s analytical framework considers global pop rock as articulated through local culture and provides the basis of the present exploration into the complexities of transnational musical meaning making at the local level in the disco films. This intermedial analysis reveals the films’ full array of metaphor and allusion in portraying imagined (socialist) futures.\",\"PeriodicalId\":43954,\"journal\":{\"name\":\"German Studies Review\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.2000,\"publicationDate\":\"2023-05-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"German Studies Review\",\"FirstCategoryId\":\"90\",\"ListUrlMain\":\"https://doi.org/10.1353/gsr.2023.0037\",\"RegionNum\":4,\"RegionCategory\":\"社会学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"Q4\",\"JCRName\":\"AREA STUDIES\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"German Studies Review","FirstCategoryId":"90","ListUrlMain":"https://doi.org/10.1353/gsr.2023.0037","RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q4","JCRName":"AREA STUDIES","Score":null,"Total":0}
引用次数: 0
摘要
1975年至1981年间，东德国有电影制片厂defa（Deutsche film Aktiengesellschaft）旗下的纪录片集团defa futurum制作了41部迪斯科电影。其中27部是社会主义“垮掉派”乐队的音乐视频，最初被认为是未来的纪录片。Ewa Mazierska的分析框架将全球流行摇滚视为通过当地文化表达的，并为目前探索迪斯科电影中跨国音乐意义在当地层面产生的复杂性提供了基础。这一中间分析揭示了电影在描绘想象中的（社会主义）未来方面的全方位隐喻和典故。
The East German Disco Film: An Intermedial Approach to the GDR’s Imagined (Musical) Futures
abstract:Between 1975 and 1981, the documentary film group defa-futurum within the state-owned East German film studio DEFA (Deutsche Film-Aktiengesellschaft) made forty-one Discofilme (disco films). Twenty-seven of these were music videos of socialist “Beat” bands and were initially theorized as documentary films of the future. Ewa Mazierska’s analytical framework considers global pop rock as articulated through local culture and provides the basis of the present exploration into the complexities of transnational musical meaning making at the local level in the disco films. This intermedial analysis reveals the films’ full array of metaphor and allusion in portraying imagined (socialist) futures.
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