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

By Thomas Elsaesser

Rainer Werner Fassbinder is without doubt one of the such a lot widespread and critical authors of post-war eu cinema. Thomas Elsaesser is the 1st to put in writing a completely analytical learn of his paintings. He stresses the significance of a better realizing of Fassbinder's occupation via a re-reading of his movies as textual entities. imminent the paintings from diversified thematic and analytical views, Elsaesser bargains either an outline and a couple of distinctive readings of an important movies, whereas additionally offering a eu context for Fassbinder's personal coming to phrases with fascism.

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Rainer Werner Fassbinder is among the so much well-known and critical authors of post-war eu cinema. Thomas Elsaesser is the 1st to jot down a completely analytical research of his paintings. He stresses the significance of a better figuring out of Fassbinder's profession via a re-reading of his movies as textual entities.

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

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The men gradually tolerate the foreigner in their midst, partly because beneath the macho talk they are all cowards, but also because they recognize that he is already 'castrated': as much a victim of the system as they are. They patronize him, not least because Elisabeth, his landlady, overcharges him for the rent, a fact they seem to approve of, more for its symbolic significance than for the financial benefit that one of them indirectly draws from it. Equally ingratiating is the Gastarbeiter's own social Darwinism: only too ready to complain when a Turk is hired by his firm, lorgos turns out to be as much a racist as his Gennan tonnentors.

For instance, when (in THE MERCHANT OF FOUR SEASONS) Irm Hermann, waiting in vain for Hans to come home, and having kept the dinner hot and her daughter starving for hours, finally bursts out in a fit of violence against the child, we sympathize with Irm Hermann's inner rage, with the well-behaved girl playing with her plaits and scraping her spoon, but also with Hans, for skipping his dinner in favour of a schnaps at the bar with his friends. Yet it would be 31 Fassbinder Representing Germany misleading to call such a scene 'distanced'.

Fassbinder, who allegedly only heard about these decisions days before he was due to start shooting, nonetheless went ahead, partly with his own money, partly by a quickly arranged co-production deal with the Filmverlag der Autoren. 65 The story is that of a group of urban guerrillas, a mix of drug pushers and political activists, who form a kind of underground cell which, on suspecting that they have been betrayed to the police, decides to strike. They kidnap the director of an American computer company, not realizing that this is part of the trap into which they have been lured.

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