By Brigitte Peucker
A better half to Rainer Werner Fassbinder is the 1st of its sort to interact with this crucial determine. Twenty-eight essays via a world staff of students think of this arguable director's contribution to German cinema, German heritage, gender stories, and auteurship.
• A clean choice 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 recent German Cinema whose short yet prolific physique of labor spans from the latter 1/2 the Sixties to the artist’s demise in 1982.• Interrogates Fassbinder’s impact at the seminal principles of his time: auteurship, id, race, queer stories, and the cataclysmic occasions of German 20th century history• Contributions from across the world different students focusing on movie, tradition, and German studies.• comprises assurance 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 12 months With thirteen Moons (1978), Despair (1978), The 3rd Generation (1979), Berlin Alexanderplatz (1980) (TV), and Querelle (1982).
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Extra info for A Companion to Rainer Werner Fassbinder (Wiley-Blackwell Companions to Film Directors)
It was not a favorable situation for anyone wanting to become a director in Germany. The reasons are obvious: After the Allies had broken up the state‐ affiliated centralized film production system after 1945 – embodied by companies such as the former UFA – film production licenses were awarded only to small companies, and it took a long time for a new film production industry to get a foothold in West Germany. Cinematic treatments of the war and its causes – as exemplified by the so‐called Trümmerfilme (rubble films)47 – drew audiences only until around 1949.
Then, in 1977, Fassbinder’s appointment to the Berlinale jury similarly caused protests among conservative members of the Jewish community in Germany, influencing other decisions related to his current film projects. At the height of the manhunt for terrorists, for example, WDR saw the necessity of protecting its reputation as a “neutral” public broadcaster and stopped production of a multi‐episode TV series adapted from Gustav Freitag’s novel Debit and Credit (Soll und Haben), a novel with anti‐Semitic content.
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). In 2010 the play was produced at the private Holberg School of Film and Theater in Copenhagen (director: Liv Helm); an Arab refugee was cast in the role of the Rich Jew. It also celebrated a premiere in Dublin, Ireland (director: Jane Mulcahy).