電影是記憶之體。當代電影以虛構情節和紀實影片兩大手法的漂移，定格那飄然遠颺、遁走逝去的歷史與記憶的圖像，成為當代藝術、文化傳輸的重要一環。本文以《星期天的約會》(Menschen am Sonntag)為例，解讀電影作為一個在動作中的身體，其中虛構情節段落和紀實文獻段落如何透過鏡頭在影片中飄移、浮動的手法，浮現現代人類生活中的歷史、政治、社會－文化的記憶影像。本文以梅茲(Christian Metz)理論想像的「括號語意群」(syntagme en accolade)論述影片的鏡頭佈局的特點。並從電影美學問觀點指出，這部電影介乎小說敘事與紀實報導、見證與前街的美學特質、成為新寫實主義與法國新浪潮電影的先驅。《星期天的約會》是一部默片，由一群年輕導演合作拍攝於1929-1930年，以罕有的感性直覺，承接法國與蘇聯的默片傳統，以及德國攝影界新客觀主義的風格，被當時電影藝術評論界喻為「德國最佳電影」，直到目前仍由於其優雅、簡潔、細膩的拍攝、剪輯手法，被視為默片時代的經典之作。

Cinema is a body of memory. By its proper means, documentary and narrative, fiction and reality, it has soon embodied a way of cultural transmission: historical, aesthetic, technique, and artistic. This paper, through the close analysis of People on Sunday (Menschen am Sonntag), explores how this mute film of 1930 subtly mixes what appears to be fiction, and what one takes as documentary. It examines how it has retrospectively become a hint both to neo-realism and to French Nouvelle Vague to come. Between telling a story and reporting on Berlin, testimony and avant-garde, this film achieves the legacy of Soviet and French cinemas, and the lessons of the New Objectivity, proper to German photography. The paper thus follows step by step the unfolding of the film, and refers to Metz syntagmatic categories as "syntagme en accolade" to scrutinize its floating sequences and segments of a moving body, in order to understand both its documentary value and its escapes of fiction.