A Companion to Rainer Werner Fassbinder
Format: PDF / Kindle (mobi) / ePub
A Companion to Rainer Werner Fassbinder is the first of its kind to engage with this important figure. Twenty-eight essays by an international group of scholars consider this controversial director's contribution to German cinema, German history, gender studies, and auteurship.
- A fresh collection of original research providing diverse perspectives on Fassbinder’s work in films, television, poetry, and underground theatre.
- Rainer Werner Fassbinder remains the preeminent filmmaker of the New German Cinema whose brief but prolific body of work spans from the latter half of the 1960s to the artist’s death in 1982.
- Interrogates Fassbinder’s influence on the seminal ideas of his time: auteurship, identity, race, queer studies, and the cataclysmic events of German twentieth century history
- Contributions from internationally diverse scholars specializing in film, culture, and German studies.
- Includes coverage of his key films including: Gods of the Plague (1970), Beware of a Holy Whore (1971), The Bitter Tears of Petra von Kant (1972), Martha (1973) (TV), World on a Wire (1973), Effi Briest (1974), Ali: Fear Eats the Soul (1974), Fox and His Friends (1975), Fear of Fear (1975), Chinese Roulette (1976), In a Year With 13 Moons (1978), Despair (1978), The Third Generation (1979), Berlin Alexanderplatz (1980) (TV), and Querelle (1982).
conceiving of melodrama as a mode for rendering the relation between interiority and the social; or, the social as that which remains both external to and nevertheless expressive of the subject. Peter Brooks describes this basic tension as the “moral occult” of melodrama, which is: the domain of operative spiritual values which is both indicated within and masked by the surface of reality. The moral occult is not a metaphysical system; it is rather a repository of the fragmentary and desacralized
temporarily closed in 1978/79. In 1980 the Mitbestimmung model was dropped and the theater was reopened without a permanent ensemble to serve as a stage for free experimental groups and artists from all over the world. Fassbinder, Stücke 3 (1976: 91–128). The book edition, though initially distributed to bookstores, was withdrawn and pulped. The play has been reprinted in Laube and Landes (1978: 275–321). For the English edition, see Fassbinder, Plays (1992: 161–89). The play celebrated its
of the German‐Polish Treaty, which recognized the Oder‐Neisse line as the permanent border between Poland and Germany, Will Brandt (1913–1992), then chancellor of Germany (SPD) and later Nobel Peace Prize laureate, began a policy of rapprochement with Eastern Europe and reconciliation with Poland under his Social Democratic government. 38 Kurt Raab (1941–1988) took a degree in German studies and history and afterward worked as a prop man for film productions. When his school friend Peer Raben
initiates, which gives the film its title. An unloved child and the scapegoat for parental dissatisfaction, her handicap is as much the cause as it is the reflection of the rejection of which she is a victim. But if her cruelty seems a legitimate revenge against those who make her suffer – since she sets the rules of the game herself, rules which in a perverse reversal exclude those who excluded her – her infirmity remains the symbol of an insurmountable psychological wound, of irreparable pain
film. Before the scene in Soul Frieda’s apartment, we have already seen this device in the abattoir, to which Erwin/Elvira brings Red Zora to witness the job for which Erwin was trained, and to which Elvira cannot return because of her breasts. Here, we listen to the disembodied voice of Erwin/Elvira explaining to Red Zora the beauty of “blood streams, and death.” In this scene, we see a flat long shot with a line of cows suspended from the hangers, having their throats cut by a butcher. Their