A World of Woe and Heavy Blows
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Filmszem Iii./2
FASSBINDER III. Évf. 2. szám Nyár FILMSZEM III./2. Rainer Werner Fassbinder FILMSZEM - filmelméleti és filmtörténeti online folyóirat III. évfolyam 2. szám - NYÁR (Online: 2013. JÚNIUS 30.) Főszerkesztő: Farkas György Szerkesztőbizottság tagjai: Murai Gábor, Kornis Anna Felelős kiadó: Farkas György Szerkesztőség elérhetősége: [email protected] ISSN 2062-9745 Tartalomjegyzék Bevezető 4 Bács Ildikó: A néma szereplő, avagy úr és szolga viszonya 5-14 Turnacker Katalin: A tükörjáték struktúrája - Berlin Alexanderplatz 15-32 Farkas György: Párhuzamos világok utazói - R. W. Fassbinder és Masumura Yasuzō filmjeinek összehasonlító vizsgálata 33-45 Rainer Werner Fassbinder filmográfia - összeállította Farkas György 46-91 Bevezető Bevezető Bár R. W. Fassbinder már több mint 30 éve elhunyt, a német új film és egyben az egyetemes filmművészet e kivételesen termékeny és különleges alkotójá- ról magyarul meglehetősen kevés elméleti munka látott napvilágot. Életmű- vének sokszínűségét még számos területen és számos megközelítési módon lehetne és kellene tárgyalni. Mostani lapszámunk ezt a hiányt igyekszik némileg csökkenteni azzal, hogy Fassbinder munkásságáról, hatásáról, filmtörténeti helyéről szóló értel- mező anyagokat válogattunk össze. Bács Ildikó tanulmányában a néma szereplő felhasználásának szempontjait elemzi összehasonlítva Fassbinder Petra von Kant keserű könnyei című filmjét Beckett Godot-ra várva című drámájával. Turnacker Katalin a fassbinder-i életmű egy nagyon hangsúlyos darabját, az Alfred Döblin regényéből, a Berlin, Alexanderplatz-ból készült tv-sorozatot elemzi, mint a tükörjáték struktúrája. Sajátos megközelítést mutat be Farkas György írása, amelyben Fassbinder há- rom kiválasztott filmjét állítja párhuzamba egy japán filmrendező, Masumura Yasuzō három alkotásával, kiemelve azokat az alapvető közös gondolatokat, amik nem csak a két rendező között teremtenek kapcsolatot, de alátámaszt- ják mindkettejük zsenialitását is. -
Rainer Werner Fassbinder Country: Germany Date: 1974
Fear eats the soul Director: Rainer Werner Fassbinder Country: Germany Date: 1974 A review by Roger Ebert: The first shots set up the theme: them against us. An older woman, dumpy and plain, walks into an unfamiliar bar and takes a seat at the table inside the door. The barmaid, an insolent blond in a low-cut dress, strolls over. The woman says she will have a Coke. At the bar, a group of customers turns to stare at her, and the camera exaggerates the distance between them. Back at the bar, the blond tauntingly dares one of her customers to ask the woman to dance. He does. And now the camera groups the man and woman together on the dingy dance floor, while the others stare. Fear Eats the Soul tells the story of these two people. Emmi Kurowski (Brigitte Mira) is about 60, a widow who works two shifts as a building cleaner, and whose children avoid her. Ali (El Hedi ben Salem) is about 40, a garage mechanic from Morocco, who lives in a room with five other Arabs and describes his life simply: “Always work, always drunk.” Ali is not even his real name; it’s a generic name for dark-skinned foreign workers in Germany. Rainer Werner Fassbinder told their story in a brief film that he dashed off in 15 days in 1974, between the big-budget productions Martha and Effi Briest. He shot it on a shoestring. Mira was a little-known supporting player, and Salem, then Fassbinder’s lover, had played only bit parts. -
“Rainer Werner Fassbinder: a Retrospective”
PRESS RELEASE WHAT: Werner Fassbinder Retrospective WHEN: March 10 to April 22, 2018 WHERE: Ili Likha Artists Village in Baguio and Cinematheque Centre Manila “Rainer Werner Fassbinder: A Retrospective” IN PARTNERSHIP WITH: This summer, the Goethe-Institut Philippinen presents some of the best works of the well-acclaimed German filmmaker, Rainer Werner Fassbinder, in a retrospective exhibition that's free for all. Eleven Fassbinder films including a documentary about him will be screened for free every weekends from March 10 to April 1 at the Ili Likha Artists Village in Baguio and April 7 to April 22 at the Cinematheque Centre Manila. On the opening day at Ili Likha Artists Village this March 10, a small reception will be held at 4pm before the first screening. Rainer Werner Fassbinder (1945–82) is one of the most polarizing and influential figures of the New German Cinema. He is famously known for his short-lived yet exceptional and remarkable career that lasted for nearly 16 years until his death in 1982. Fassbinder's artistic productivity resulted in a legacy of 39 films, 6 TV movies, 3 shorts, 4 video productions, 24 stage plays, and 4 radio plays. On top of that, he was also an actor, dramatist, cameraman, composer, designer, editor, producer, and theatre manager for some of his films and productions, yet he managed to combine all of it into a comprehensive, always expanding, retrospective, and progressive unity. Fassbinder's films encompasses everything from intense social melodramas, Hollywood inspired female-driven tearjerkers, epic period pieces, to dystopic science fiction as well. -
Angående EL Hedi Ben Salem Anna Skov Jensen
Angående EL Hedi Ben Salem Anna Skov Jensen Skuespillerne spiller versioner af sig selv og versioner af karaktererne: EL HEDI BEN SALEM RAINER WERNER FASSBINDER BIRGITTE MIRA IRM HERMANN HAFSIA 3 MÆND PÅ EN BAR GRÆNSEVAGT INTERVIEWER M.fl. 1 PROLOG: Alt det vi ved og alt det vi ikke ved De fire efterforskere LUISE, ZAKI, ANNE-VIBEKE og HENRIK er på scenen når publikum kommer ind. De er i gang med at placere enkelte rekvisitter på scenen; dokumenter, billeder, men også kostumer, sko, cigaretter og en pladespiller. Det ligner at de rydder op; at de nulstiller scenen efter lige at have spillet forestillingen én gang. Den ene af dem tørrer en rødlig, klistret masse, der ligner blod op med en klud og en spand. Èn af dem skifter fra en blodig t-shirt til en ren t-shirt. Når publikum og rekvisitterne er på plads stiller LUISE, ZAKI, HENRIK og ANNE- VIBEKE og taler til salen. ZAKI Det er nat i Berlin, en dag i året 1974. Skuespilleren El Hedi Ben Salem går alene omkring i et kvarter i byen, der på det her tidspunkt er delt i to – i øst og i vest. LUISE Måske er El Hedi Ben Salem fuld. Måske er han påvirket af stoffer. HENRIK Vi ved ikke hvilken gade, han går på. Vi kender ikke engang den præcise dato. Dét vi ved er, at han går ind på en bar ANNE-VIBEKE Dét vi ved er, at han må have haft en kniv med, for da han kommer ud igen, har han stukket 3 mænd ned. -
First Complete Retrospective in the United States of the Films of Rainer Werner Fassbinder
The Museum of Modern Art For Immediate Release December 1996 Contact: Graham Leggat 212/708-9752 FIRST COMPLETE RETROSPECTIVE IN THE UNITED STATES OF THE FILMS OF RAINER WERNER FASSBINDER All Forty-Three Film and Television Works, Many in New 35mm Prints, Including Several N.Y. Premieres and the Complete Screening of the Fifteen-hour Epic Berlin Alexanderplatz Gala Opening Night with Tributes and Performances By Actresses, Actors, and Crew from Fassbinder's Films Series to Tour Thirteen North American Cities through March 1998 Rainer Werner Fassbinder January 23-March 20, 1997 The Roy and Niuta Titus Theaters 1 and 2 Rainer Werner Fassbinder, the genius of the New German Cinema, made forty-three remarkable film and television works between 1966 and his death in 1982 at age thirty- seven. The full depth and scope of this astonishing career—unparalleled in postwar world cinema—will be on display for the first time in the United States beginning January 23, 1997, when The Museum of Modern Art presents Rainer Werner Fassbinder, a complete retrospective of the director's work. Using a potent mix of impassioned melodrama and biting satire, working independently with a loyal, likeminded cast and crew, and wedding intense personal and political issues, Fassbinder produced an entirely original oeuvre that remains as imaginative and incisive today as when he was alive. Practically hurled in the face of bourgeois culture, these films include acknowledged treasures such as The Marriage of Maria Braun -more- 11 West 53 Street, New York, N.Y. 10019-5498 Tel: 212-708-9400 Fax: 212-708-9889 2 (1978), Lola (1981), Fox and His Friends (1974), Veronika Voss (1981), Effi Briest (1972/74), The Bitter Tears of Petra von Kant (1972), Katzelmacher (1969), In a Year of 13 Moons (1978), Ali: Fear Eats the Soul (1973), and Lili Marleen (1980). -
A Rainer Werner Fassbinder Film Retrospective Is Coming to Manila and Baguio
HOME (HTTP://LIFESTYLEASIA.ONEMEGA.COM/HOME-2/) EVENTS + (HTTP://LIFESTYLEASIA.ONEMEGA.COM/EVENTS/) LUXE LIST (HTTP://LIFESTYLEASIA.ONEMEGA.COM/THE-LUXE- (http://lifestyleasia.onemega.com) LIST/) FOOD (HTTP://LIFESTYLEASIA.ONEMEGA.COM/CATEGORY/FOOD/) TRAVEL (HTTP://LIFESTYLEASIA.ONEMEGA.COM/CATEGORY/TRAVEL/) MAGAZINE (HTTP://LIFESTYLEASIA.ONEMEGA.COM/CATEGORY/MAGAZINES/ A RAINER WERNER FASSBINDER FILM RETROSPECTIVE IS COMING TO MANILA AND BAGUIO The Goethe-Institut Philippines, the ocial cultural institute of the Federal Republic of Germany, is bringing a lm retrospective of one of Germany’s most polarizing and acclaimed lmmakers, Rainer Werner Fassbinder to Manila and Baguio from March 10 to April 22, 2018. Fassbinder is one of the most prominent gures in the New German Cinema movement and garnered a worldwide reputation for his intriguing motion pictures. Although the auteur had a short lived lm career that only lasted 16 years (Fassbinder died of overdose in 1982), his active years resulted to a legacy of 39 lms, 6 made for television movies, 3 short lms, 4 video productions, 24 stage plays and 4 radio plays. He is often cited as a great inuence of post-war period German lmmaking. — Rainer Werner Fassbinder Held at two venues, the Goethe-Institut’s retrospective will include 11 Fassbinder motion pictures and one documentary about him. The genres range from art house pictures, Hollywood-inspired female-centric tearjerkers, thrillers, sci- movies, and dramatic period pieces. The Institute’s main object is to “bring multifaceted images of modern Germany to the world.” This time, through one of their lmmaking treasures, Rainer Werner Fassbineder. With a presence in the Philippines for over fty years, Goethe-Institut has stated in a press release that they “foster partnership and cultural exchange between our nations and provide access to German language and culture for everyone.” Catch the Fassbinder retrospective in two venues this coming March. -
Happiness Is Not Always Fun'': Caryl Phillips's Crossing the River, Part IV(1993) and the BBC Radio Dramatization
Happiness is not always fun”: Caryl Phillips’s Crossing the River, part IV(1993) and the BBC Radio Dramatization “Somewhere In England” (2016), Rainer Werner Fassbinder’s Ali: Fear Eats the Soul (1975) and Robert Colescott’s My Shadow (1977) and Knowledge of the past is key to the Future, (St Sebastian) (1986) Josiane Ranguin To cite this version: Josiane Ranguin. Happiness is not always fun”: Caryl Phillips’s Crossing the River, part IV(1993) and the BBC Radio Dramatization “Somewhere In England” (2016), Rainer Werner Fassbinder’s Ali: Fear Eats the Soul (1975) and Robert Colescott’s My Shadow (1977) and Knowledge of the past is key to the Future, (St Sebastian) (1986). Lectures du monde anglophone, ERIAC - EA 4705, In press, Caryl Phillips: Inhabiting the Voids of History, Lectures du Monde Anglophone, Université de Rouen, n° 4. (4). hal-02021610 HAL Id: hal-02021610 https://hal-univ-paris13.archives-ouvertes.fr/hal-02021610 Submitted on 6 Mar 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. “Happiness is not always fun”: Caryl Phillips’s Crossing the River, part IV (1993) and the BBC Radio Dramatization “Somewhere In England” (2016), Rainer Werner Fassbinder’s Ali: Fear Eats the Soul (1975) and Robert Colescott's My Shadow (1977) and Knowledge of the past is key to the Future, (St Sebastian) (1986). -
May June 2014
ELINOR BUNIN MUNROE FILM CENTER 144 W 65th St. | WALTER READE THEATER 165 W 65th St. | New York, NY 10023 | FilmLinc.com FASSBINDER: ROMANTIC ANARCHIST (PART 1) The Bitter Tears of Petra von Kant MAY JUNE 2014 Columbia University Film Festival May 2 — 6 | New York African Film Festival May 7 — 13 | Fassbinder: Romantic Anarchist (Part 1) May 16 — June 1 | Open Roads: New Italian Cinema June 5 — 12 | Human Rights Watch Film Festival June 13 — 22 | Film Comment Double Feature June 25 | New York Asian Film Festival June 27 — July 10 MAY 2014 SUNDAY MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY 1 2 3 Follow us on Visit FilmLinc.com 7:00 CUFF Program A 2:00 CUFF Program C for more information 9:00 CUFF Program B 4:00 CUFF Program D 7:00 CUFF Program E 9:00 CUFF Program F VISIT FILMLINC.COM FOR TICKETS AND VENUE | IN-PERSON APPEARANCES 4 5 6 7 8 9 10 2:00 Frozen 6:30 From Screen to Stage: 12:55 Met Opera Encore: 2:00 Mugabe: Villain or Hero? 2:00 New African Shorts 2:00 Ninah’s Dowry 12:55 Met Opera: 5:00 CUFF Program G Bullets Over Broadway Così fan tutte 4:30 Winter of Discontent + 4:30 Aya of Yop City 4:00 Bastards + Beleh La Cenerentola 7:00 CUFF Program H 4:00 Creative Producing Pitch Wooden Hands 6:30 It’s Us 7:00 Half of a Yellow Sun 6:30 Of Good Report Contest 7:00 Film Society Talks: 7:30 Convergence: APP 9:45 Half of a Yellow Sun 9:15 Confusion Na Wa 7:00 PANEL: Is it Television? James Gray (The Free event! Palo Alto OPENS The Rise of Episodic Immigrant) Free event! 8:45 Grigris + Columbite Storytelling 7:30 Confusion Na Wa Tantalite -
Ming Wong's Art of Imitation
Ming Wong’s Imitations Barbara Mennel Ming Wong’s Art of Imitation Life of Imitation—the installation prepared by Singaporean performance and multi- media artist Ming Wong for his solo exhibition in the Singapore Pavilion at the 2009 Venice Biennale—restages a pivotal scene from Imitation of Life, Douglas Sirk’s famous 1959 Hollywood maternal melodrama, closely replicating its stage blocking of characters, dialogue, and shot composition. Figure 1: Ming Wong’s Life of Imitation at the Singapore Pavilion at the Venice Biennale Source: Ming Wong, Life of Imitation, 2009; two channel video installation Courtesy: carlier | gebauer, Berlin and Vitamin Creative Space, Guangzhou Full Clip: http://transit.berkeley.edu/2014/mennel-2/ In Wong’s double projection, the three Singaporean actors Sebastian Tan, Moe Kasim, and Alle Majeed—each a member of one of the country’s dominant ethnic groups (Chinese, Malayan, and Indian)—systematically rotate through the female roles of the source material.1 In the key scene from Imitation of Life, the African American maid Annie Johnson, one of the two lead female characters, is visiting her light-skinned daughter Sarah Jane at her workplace in a Los Angeles nightclub. To pass as white, Sarah Jane had previously run away and renounced her mother, who was only able to track her down with the help of a private detective. After a confrontation between the two in a motel room, which ends in a tearful embrace, Sarah Jane’s friend (billed as “Showgirl”) happens to enter and becomes a witness to Sarah Jane’s racial passing, which her mother reinforces by pretending to be her former mammy. -
* Omslag Between Stillness PB:DEF
FILM CULTURE IN TRANSITION Between Stillness and Motion FILM, PHOTOGRAPHY, ALGORITHMS EDITED BY EIVIND RØSSAAK Amsterdam University Press Between Stillness and Motion Between Stillness and Motion Film,Photography,Algorithms Edited by Eivind Røssaak The publication of this book is made possible by a grant from the Norwegian Research Council. Front cover illustration: Tobias Rehberger, On Otto, film still (Kim Basinger watching The Lady from Shanghai), . Courtesy Fondazione Prada, Milan Back cover illustration: Still from Gregg Biermann’s Spherical Coordinates () Cover design: Kok Korpershoek, Amsterdam Lay-out: japes, Amsterdam isbn (paperback) isbn (hardcover) e-isbn nur © E. Røssaak / Amsterdam University Press, All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of both the copyright owner and the author of the book. Contents Acknowledgements Introduction The Still/Moving Field: An Introduction Eivind Røssaak Philosophies of Motion The Play between Still and Moving Images: Nineteenth-Century “Philosophical Toys” and Their Discourse Tom Gunning Digital Technics Beyond the “Last Machine”: Thinking Digital Media with Hollis Frampton Mark B.N. Hansen The Use of Freeze and Slide Motion The Figure of Visual Standstill in R.W. Fassbinder’sFilms Christa Blümlinger TheTemporalitiesoftheNarrativeSlideMotionFilm -
S E P / O C T 2 0 13
SEP/OCT 2013 UC BERKELEY ART MUSEUM & PACIFIC FILM ARCHIVE PG RO RAM GUIDE YANG FUDONg BEAUTY REVEALED: QING DYNASTY CHINESE PAINTING LINDA STARk WILLIAM FRIEDKIN PIER PAOLO PASOLINi RAINER WERNER FASSBINDER MOUMEN SMIHi ELLEN FULLMAn pAUL CHAn jOHN GIANVITO ENDL ESS SUMMER CINEMA F REE OUTDOOR MOVIES! O E N THE CR SCENT LAWN OXFORD ST AT CENTER Copresented by Downtown Berkeley Association Join us for two evenings of free films under the stars across the street from our future home in downtown Berkeley. Shorts and The New BAM/PFA other surprises begin at 7:30, followed by the feature film at 8. Learn More FRIDAY / 9.27.13 / 7:30 A PRESENTATION BY Invasion of the D irector Lawrence Rinder Body Snatchers Wednesday, October 16 , 7:30 p.m. (Philip Kaufman, 1978) Bay Area paranoia abounds in this remake of Wurster Hall auditorium (UC Berkeley campus) the 1956 classic cloner, where extraterrestrial “pod people” are breeding conformity in a Free and open to the public. Sponsored by Nordic 5 Arts and the Dean's Office and culture immersed in the unconventional. Filmed the Department of Architecture, College of Environmental Design, UC Berkeley. in San Francisco, with Donald Sutherland, Brooke Adams, Leonard Nimoy, and Jeff Goldblum. Preceded by Hardware Wars, Ernie Fosselius’s riotous mock movie trailer, featuring the galactic antics of Fluke Starbucker, Ham Salad, Darph Nader, Princess Anne Droid, and Augie “Ben” Doggie. C OVER 3 Hua Xuan: Eight Beauties on the Balcony of Yang Fudong: Mrs. Huang at M Last Night (detail), a Brothel, 1736; framed panel painting, ink 2006; black-and-white C-print; 47 1/4 × 70 ⅞ in.; and colors on silk; 56 × 131 × 2 in.; private FRIDAY / 10.4.13 / 7:30 courtesy of the artist, Marian Goodman Gallery, collection. -
No V / DE C 2 0 13
NOV/DEC 2013 NOV/DEC UC BERKELEY ART MUSEUM & PACIFIC FILM ARCHIVE prG O RAM GUIDE YA NG FUDONg BEAUTY REVEALED: QING DYNASTY CHINESE PAINTING LINDA STARk EVAN ZIPORYN aGNÈS VARDA RAINER WERNER FASSBINDER RANDY THOm YOSHI WADa ROB NILSSON new PORTUGUESE CINEMA short list> 1 Agnès Varda’s Point of View Many of you enjoyed Agnès Varda’s poignant documentaries in our summer tribute to her late husband, Jacques Demy, and now we are proud to welcome Varda to BAM/PFA to present a different side of her extraordinary body of work. The pioneering French filmmaker joins us from Paris on November 4 to discuss several of her political, yet highly personal, films, including two made in the Bay Area in the late 1960s, and for a public conversation with UC Berkeley professor Linda Williams after a screening of The Gleaners and I on November 5. We round out the series with two of her important early films:La Pointe Courte (1954), which is considered an important precursor to the French New Wave—in a new 35mm print!—and a digital restoration of Cléo from 5 to 7, the 1961 film that established Varda’s international reputation. The International Federation of Film Archives presented Varda with the FIAF Award earlier this year, citing her ongoing work “to preserve, restore and disseminate her oeuvre as well as that of Jacques Demy.” “The relationship between Agnès Varda and cinematheques is a long love story,” said FIAF president Eric Le Roy. “Cinematheques The New BAM/PFA around the world feel that Agnès Varda has always been on their side, as she has never stopped traveling to present her films in those institutions which preserve, Hard demolition is almost complete, below-grade excavation is restore, and project them.” p.