By Brigitte Peucker
A better half to Rainer Werner Fassbinder is the 1st of its type to interact with this crucial determine. Twenty-eight essays through a global workforce of students ponder this debatable director's contribution to German cinema, German historical past, gender experiences, and auteurship.
• A clean selection of unique study offering varied views on Fassbinder’s paintings in motion pictures, tv, poetry, and underground theatre.• Rainer Werner Fassbinder continues to be the preeminent filmmaker of the hot German Cinema whose short yet prolific physique of labor spans from the latter half the Nineteen Sixties to the artist’s dying in 1982.• Interrogates Fassbinder’s effect at the seminal rules of his time: auteurship, identification, race, queer reviews, and the cataclysmic occasions of German 20th century history• Contributions from across the world different students focusing on movie, tradition, and German studies.• comprises insurance of his key movies together with: Gods of the Plague (1970), Beware of a Holy Whore (1971), The sour Tears of Petra von Kant (1972), Martha (1973) (TV), World on a Wire (1973), Effi Briest (1974), Ali: worry Eats the Soul (1974), Fox and His Friends (1975), Fear of Fear (1975), Chinese Roulette (1976), In a yr With thirteen Moons (1978), Despair (1978), The 3rd Generation (1979), Berlin Alexanderplatz (1980) (TV), and Querelle (1982).
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Extra resources for A Companion to Rainer Werner Fassbinder (Wiley-Blackwell Companions to Film Directors)
Fassbinder was paraded about as an anti‐Semite so that the anti‐Semitism that existed among many members of the population could go unexamined. In his play Fassbinder, as author, portrays a character called the “Rich Jew” – a real estate speculator – with all his strengths and weaknesses. ” An artist and author who really has something to say will always engage with the society and time in which he lives: Fassbinder took a close look at the world and recognized what was happening around him. It was impossible to disregard the wounds inflicted on German cities by the war and the subsequent reconstruction efforts with all their eyesores, especially in Frankfurt.
His next film project, Despair (A Journey into Light), was already in preparation when Bolwieser entered the editing phase, and shortly before the TV version was mixed, Fassbinder in passing asked me in the most charming manner whether I would like to work on his first English‐language production, Despair, which featured Dirk Bogarde in the leading role. I have often spoken of the famous “night of despair,” and it always sounds a bit like a fairy tale: a young woman is asked by the director to work with him on re‐editing the first three‐hour cut of a film.
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 German premiere on October 1 and 2, 2009, at the Theater an der Ruhr in Mühlheim. indd 37 37 Ciulli, dramaturgy: Helmut Schäfer). The world premiere took place in 1987 in New York (director: Nick Fracaro). , 1997 (director: Frédérique Michel); Milan, Italy, 1998 (directors: Elio de Capitani/ Ferdinando Bruni); Tel Aviv, Israel, 1999 (director: Yoram Loewenstein); The Hague, the Netherlands, 2002 (director: Johan Doesburg); Paris, France, 2003 (director: Pierre Maillet); and Copenhagen, Denmark, 2004 (director: Jacob Schjodt).