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As surveillance (its role in policing and regulating behaviours in societies understood to be â€œfreeâ€? 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 filmâ€™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 GrÃ¤fâ€™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.

I’ll be watching you: a non-linear reading of Roland Gräf’s Die Flucht