Fassbinder's Germany: History, Identity, Subject (Amsterdam by Thomas Elsaesser

By Thomas Elsaesser

Rainer Werner Fassbinder is without doubt one of the such a lot favorite and significant authors of post-war ecu cinema. Thomas Elsaesser is the 1st to write down a completely analytical examine of his paintings. He stresses the significance of a more in-depth knowing of Fassbinder's occupation via a re-reading of his motion pictures as textual entities. forthcoming the paintings from diverse thematic and analytical views, Elsaesser deals either an outline and a couple of targeted readings of an important motion pictures, whereas additionally delivering a ecu context for Fassbinder's personal coming to phrases with fascism.

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Additional resources for Fassbinder's Germany: History, Identity, Subject (Amsterdam University Press - Film Culture in Transition)

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Fassbinder knew that such 'indulgence to the point of irresponsibility' came at a price: the filmmaker's apparently non-judgmental relation to destructive or evil characters did indeed give rise to scandals and controversy. 33 In the case of JAILBAIT, Franz Xaver Kroetz, the author of the play on which the film is based, found Fassbinder's reading so 'irresponsible' that he took out a court action. Objecting to what he called Fassbinder's 'pornographic' travesty of his piece, Kroetz managed 34 to enforce an injunction which resulted in cuts and a very limited public release for the film.

21 The New Naivety If Fassbinder found in the egocentricity of the hard-boiled hero and the latent misogyny of film noir a useful reference point, it was in order to derive from it some tortuous and ironic 48 From Vicious Circles to Double Binds comment about a world of false self-images expressing real emotions. Especially in MACHER and GODS OF THE PLAGUE, KATZEL- an underclass aspiring to the stuffy self-righteousness of the Genuan petit-bourgeoisie was held up to a somewhat ridiculous pity as well as inviting pitiful ridicule.

But as drama, it also puts on show the heroine's need to carry on killing, no longer out of outrage and oppression, just trying to keep under control the momentum started by her grisly deed, until she is finally caught. Victimisation and isolation are shown to occur not only in a specifically German urban environment, but in settings familiar to a particular audience: the place of work, the family dinner table, the block of apartments with petty neighbours and tyrannical landlords, the supermarket and the launderette, the corner cafe and the local bar.

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