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Rainer Werner Fassbinder Amor Y Rabia Coordinado Por Quim Casas
Rainer Werner Fassbinder Amor y rabia Coordinado por Quim Casas Colección Nosferatu Editan: E. P. E. Donostia Kultura Teatro Victoria Eugenia Reina Regente 8 20003 Donostia / San Sebastián Tf.: + 34 943 48 11 57 [email protected] www.donostiakultura.eus Euskadiko Filmategia – Filmoteca Vasca Edificio Tabakalera Plaza de las Cigarreras 1, 2ª planta 20012 Donostia / San Sebastián Tf.: + 34 943 46 84 84 [email protected] www.filmotecavasca.com Distribuye: UDL Libros Tf.: + 34 91 748 11 90 www.udllibros.com © Donostia Kultura, Euskadiko Filmategia – Filmoteca Vasca y autores ISBN: 978-84-944404-9-6 Depósito legal: SS-883-2019 Fuentes iconográficas: Rainer Werner Fassbinder Foundation, Goethe-Institut Madrid, StudioCanal, Beta Cinema, Album Diseño y maquetación: Ytantos Imprime: Michelena Artes Gráficas Foto de portada: © Rainer Werner Fassbinder Foundation Las amargas lágrimas de Petra von Kant © Rainer© Fassbinder Werner Foundation SUMARIO CONTEXTOS Presentación: amor y rabia. Quim Casas .......................................... 17 No había casa a la que volver. Fassbinder y el Nuevo Cine Alemán. Violeta Kovacsics ......................................... 31 En la eternidad de una puesta de sol. Carlos Losilla ........................... 37 El teatro, quizá, no fue un mero tránsito. Imma Merino ...................... 47 GÉNEROS, SOPORTES, FORMATOS, ESTILOS Experimentar con Hollywood y criticar a la burguesía Los primeros años del cine de Fassbinder Israel Paredes Badía ..................................................................... 61 Más frío que la muerte. El melodrama según Fassbinder: un itinerario crítico. Valerio Carando .............................................. 71 Petra, Martha, Effi, Maria, Veronika... El cine de mujeres de Fassbinder. Eulàlia Iglesias ........................................................ 79 Atención a esas actrices tan queridas. La puesta en escena del cuerpo de la actriz. María Adell ................................................ 89 Sirk/Fassbinder/Haynes. El espejo son los otros. -
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. -
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). -
Copyrighted Material
Contents Notes on Contributors viii Acknowledgments xiv Introduction 1 Brigitte Peucker Part I Life and Work 15 1 The Other Planet Fassbinder 17 Juliane Lorenz 2 R. W. Fassbinder: Prodigal Son, Not Reconciled? 45 Thomas Elsaesser 3 Rainer “Maria” Fassbinder: Cinema between Literature and Life 53 Leo A. Lensing 4 Five Fassbinder Scenes 67 Wayne Koestenbaum Part II Genre; Influence; Aesthetics 77 5 Imitation, Seriality, Cinema: Early Fassbinder and Godard 79 Laura McMahonCOPYRIGHTED MATERIAL 6 Exposed Bodies; Evacuated Identities 101 Claire Kaiser 7 Redressing the Inaccessible through the Re‐Inscribed Body: In a Year with 13 Moons and Almodóvar’s Bad Education 118 Victor Fan 8 Nudity and the Question: Chinese Roulette 142 Eugenie Brinkema TTOC.inddOC.indd v 111/19/20111/19/2011 110:15:490:15:49 AAMM vi Contents 9 Color, Melodrama, and the Problem of Interiority 159 Brian Price 10 Fassbinder’s Work : Style, Sirk, and Queer Labor 181 John David Rhodes 11 A Nagging Physical Discomfort: Fassbinder and Martha 204 Joe McElhaney 12 Beyond the Woman’s Film: Reflecting Difference in the Fassbinder Melodrama 226 Nadine Schwakopf 13 Through the Looking Glass: Fassbinder’s World on a Wire 245 Brad Prager Part III Other Texts; Other Media 267 14 Violently Oscillating: Science, Repetition, and Affective Transmutation in Fassbinder’s Berlin Alexanderplatz 269 Elena del Rio 15 In Despair : Performance, Citation, Identity 290 Brigitte Peucker 16 Declined Invitations: Repetition in Fassbinder’s Queer “Monomusical” 313 Caryl Flinn 17 Fassbinder’s France: -
TATORT. Die Normalität Als Abenteuer
AUGEN-BLICK MARBURGER HEFfE ZUR MEDIENWISSENSCHAFf Heft 9 Dezember 1990 Herausgegeben vom Institut für Neuere deutsche Literatur Philipps-Universität- Marburg Redaktion: Prof. Dr. Günter Giesenfeld in Verbindung mit: Dr. Jürgen Felix Prof. Dr. Heinz-B. Heller Prof. Dr. Thomas Koebner Dr. Joachim Schmitt-Sasse Prof. Dr. Wilhelm Solms Prof. Dr. Guntram Vogt ISSN 0179-255 Tatort Die Normalität als Abenteuer Augen-Blick 9 Marburg 1990 Brichtigungen zu Heft 8: Vorwort: das Symposium, das sich mit dem Thema von Heft 8 des AU GEN-BLICK befaßte, hat nicht 1985, sondern im Dezember 1987 stattge funden. - Auf der Seite 31 (Abb. von Kameras) sind die Bildunterschriften vertauscht worden. Zu den Autoren dieses Hefts: Thomas Koebner, geboren 1941, Studium der Germanistik, Kunstge schichte und Philosophie in München. Akademische Stationen: München, Köln, dann Professor in Wuppertal und Marburg. Zur Zeit Direktor der Deutschen Film- und Fernsehakademie in Berlin. Veröffentlichungen zur Literatur seit dem 18. Jahrhundert, zum Musiktheater und zur Film- und Fernsehgeschichte Egon Netenjakob, geboren 1935, Studium der Germanistik und Geschichte in München, Theaterwissenschaft in Wien. Lebt seit 1972 als freier Jour nalist in Köln. Veröffentlichungen zum Fernsehen u.a.: Liebe zum Fern sehen (1984), Biographien zu Eberhard Fechner (1989) und Wolfgang Staudte (ersch. 1991). Die hier veröffentlichten Arbeiten sind Teilergebnisse eines Tatort-Pro jekts, das von der Deutschen Forschungsgemeinschaft (Sonderforschungs bereich A'sthetik, Pragmatik und Geschichte der Bildschirmmedien in Deutschland, Siegen und Marburg) und den Sendern unterstützt wurde, die uns Überspielungen zumal älterer Tatorte haben zukommen lassen. Inhaltsverzeichnis Günter Giesenfeld: Vorwort ...................................................... 5 Thomas Koebner: Tatort - zu Geschichte und Geist einer Kriminalfilm-Reihe ...................................................... 7 Egon Netenjakob: Das Vergnügen, aggressiv zu sein. -
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 -
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. -
Television Fiction in Europe
Television Fiction in Europe Eurofiction 2002 Sixth edition Please note: The following report is a comprehensive analysis of fiction programmes scheduled in European TVs in 2001. The European Audiovisual Observatory could not publish anymore such a report for the following years. However, in the framework of its Yearbook, Film, Television and Video in Europe, Chapter “Programming”, the Observatory published for all the following years a statistical analysis of fiction programming in most of the European television markets. Milly Buonanno (editor) October 2002 Edited by Milly BUONANNO, EUROFICTION, Television Fiction in Europe, Report 2002 Sixth edition, European Audiovisual Observatory, Strasbourg, October 2002 ISBN 92-871-5028-1 The Eurofiction project team is coordinated by the Hypercampo Foundation, partner organisation of the European Audiovisual Observatory and comprises of: Italy University of Firenze Fondazione Hypercampo Osservatorio sulla Fiction Italiana (OFI) France Institut National de l’Audiovisuel (INA) Conseil Supérieur de l’Audiovisuel (CSA) Germany Universität Siegen Spain Universitat Autónoma de Barcelona (UAB) Corporación Multimedia y TVC United Kingdom British Film Institute (BFI) Director of Publication Wolfgang Closs, Executive Director of the European Audiovisual Observatory [email protected] Liaison Officer with Partner Organisation André Lange, Expert – Information on Markets and Funding andré[email protected] Marketing Markus Booms, Marketing Officer [email protected] Translators/Revisers France Courrèges, Paul Green, Erwin Rohwer, Ann Stedman and Colin Swift Print Production C.A.R. - Centre Alsacien de Reprographie Publisher European Audiovisual Observatory 76 allée de la Robertsau 67000 Strasbourg France Tel.: 0033 (0)388 14 44 00 Fax: 0033 (0)388 14 44 19 Email: [email protected] URL: www.obs.coe.int The analyses expressed in these articles are the authors’ own opinions and cannot in any way be considered as representing the point of view of the European Audiovisual Observatory, its members and the Council of Europe. -
Rainer Werner Fassbinder Edited By
Peucker Edited by Brigitte Peucker is the Elias “A welcome reminder of Fassbinder’s astonishing breadth and continued A Companion to Leavenworth Professor of German resonance, this wide-ranging and brilliant collection of essays is an indispensable and a Professor of Film Studies at resource.” Rainer Werner Yale University. She is the author Anton Kaes, University of California, Berkeley of many essays on questions of Fassbinder representation in film and literature. “As varied, replete, and edgy as Fassbinder’s work itself, and as deftly edited, this Earlier books include Lyric Descent in montage of essays takes the measure not just of an oeuvre but of an epoch.” A Companion to Rainer Werner the German Romantic Tradition (1987), Garrett Stewart, author of Framed Time: Toward a Postfilmic Cinema Fassbinder is a groundbreaking Incorporating Images: Film and the collection. The first to engage fully with Rival Arts (1995), and The Material “Few filmmakers in the history of cinema have been as productive, as important, Rainer Werner Fassbinder A Companion to this important figure, whose untimely Image: Art and the Real in Film (2007). and as provocative as R. W. Fassbinder. With this stellar collection of essays, the death in 1982 is said to have marked achievements of his career unfold in all their astonishing range and diversity, the end of New German cinema. across all their beauties and shocks, with all their pleasures and difficulties.” Twenty-nine chapters consider this Timothy Corrigan, University of Pennsylvania controversial director’s contribution to German cinema, German history, gender and queer studies, and auteurship. Riding a wave of renewed interest in Fassbinder as a result of the increasing availability of his work, this collection puts the enigmatic director, actor, and character in context and considers the reach of his influence on a new generation of film makers. -
World on a Wire Press Notes
JANUS FILMS PRESENTS Director: Rainer Werner Fassbinder Country: West Germany Year: 1973 Run time: 212 min (Pt. I: 105 min; Pt. II: 107 min) In German w/ English subtitles Color / 1.37 / Mono / Unrated JANUS FILMS Sarah Finklea Ph: 212-756-8715 [email protected] http://www.janusfilms.com/worldonawire SYNOPSIS A dystopic science-fiction epic, World on a Wire is German wunderkind Rainer Werner Fassbinder’s gloriously cracked, boundlessly inventive take on future paranoia. With dashes of Kubrick, Vonnegut, and Dick, but a flavor entirely his own, Fassbinder tells the noir-spiked tale of reluctant action hero Fred Stiller (Klaus Lowitsch), a cybernetics engineer who uncovers a massive corporate and governmental conspiracy. At risk? Our entire (virtual) reality as we know it. This long unseen three-and-a-half-hour labyrinth is a satiric and surreal look at the weird world of tomorrow from one of cinema’s kinkiest geniuses. ABOUT THE RESTORATION World on a Wire was originally made for German television (WDR) in 1973 and was shot on 16mm reversal film material (Kodak/Eastman Ectachrome). The two- part film was shot in 44 days, from January until March 1973 in Paris, Munich, and Cologne. The first German TV broadcast was on October 14, 1973 (part I) and October 16, 1973 (part II). The new Digital Master has been taken directly from the original 16mm A/B reversal rolls: they were scanned in 2K resolution on an ARRI Film Scanner and color-corrected on a Discreet Lustre System. Thousands of instances of dirt, debris and scratches were removed by using the MIT Digital Restoration System. -
Join the Bfi Share
HELPING NEW FILMMAKERS ON THE WAY TO THEIR FIRST FEATURE JOIN THE BFI SHARE. GET PRIORITY CONNECT. BOOKING INSPIRE. AND TICKET DISCOUNTS bfi.org.uk/join Explore short films by new and emerging filmmakers in our Postroom BFI MEMBERS SUPPORT network.bfi.org.uk Rory Waudby-Tolley dir. FILM @bfinetwork FOREVER Mr Madila Image: The Man Who Fell To Earth The British Film Institute is registered inEngland as a charity, number 287780 Image: COMING SOON May 2017 at BFI Southbank @BFI Manhattan LOCO 2017 Woody Allen shows his love for LOCO London Comedy Film Festival New York, women, art and women rejoins us this 4-7 May for some in this classic film – show yours rib-tickling treats when it’s re-released in May 2016’s Aaaaaaaah! 2016’s Trevor Griffiths We screen the best work from this English dramatist, who’s been writing for theatre, TV and cinema since the late 60s Girls Like Us Om Shanti Om Part two of our celebration of British Warm up those vocal chords women and WWII cinema includes and join our sing-along in May, even more drama (both fictional part of India on Film and real-life!) The Life and Death of Colonel Blimp Night the Through VISITOR INFORMATION TICKET PRICES BFI SOUTHBANK London SE1 8XT MEMBER (CONCS) NON-MEMBER (CONCS) UNDER 16s OPENING TIMES Mediatheque BFI Reuben Library TICKETS Mon – Sun 9:45-23:00 Tue – Fri 12:00-20:00 Tue – Sat 10:30-19:0 Sat – Sun 12:30-20:00 EVENING/WEEKEND £9 (£7.20) £11 (£8.80) £6 Box Office SHOWS Mon – Sun: BFI Shop Phone 11:30-20:30 Mon – Sat 11:00-20:30 WEEKDAY MATINEES £6 £8 £6 In person 11:00-20:30 Sun 12:00-20:00 BIG SCREEN CLASSICS £8 (£7.20) £8 £6 PROGRAMME & VENUES TEAM GIFT AID TICKETS Stuart Brown Michelle White Martin Laws Gift Aid tickets include an optional 10% donation which Head of Programme Head of Events and Production Head of Commercial and supports the charitable work we do, and if you are a UK tax payer, and Acquisition Anna Bogutskaya Customer Development also enables us to claim Gift Aid on the full value of your ticket. -
Historical Dictionary of German Cinema
07_677 (01) FM.qxd 1/15/08 6:20 PM Page i HISTORICAL DICTIONARIES OF LITERATURE AND THE ARTS Jon Woronoff, Series Editor 1. Science Fiction Literature, by Brian Stableford, 2004. 2. Hong Kong Cinema, by Lisa Odham Stokes, 2007. 3. American Radio Soap Operas, by Jim Cox, 2005. 4. Japanese Traditional Theatre, by Samuel L. Leiter, 2006. 5. Fantasy Literature, by Brian Stableford, 2005. 6. Australian and New Zealand Cinema, by Albert Moran and Er- rol Vieth, 2006. 7. African-American Television, by Kathleen Fearn-Banks, 2006. 8. Lesbian Literature, by Meredith Miller, 2006. 9. Scandinavian Literature and Theater, by Jan Sjåvik, 2006. 10. British Radio, by Seán Street, 2006. 11. German Theater, by William Grange, 2006. 12. African American Cinema, by S. Torriano Berry and Venise Berry, 2006. 13. Sacred Music, by Joseph P. Swain, 2006. 14. Russian Theater, by Laurence Senelick, 2007. 15. French Cinema, by Dayna Oscherwitz and MaryEllen Higgins, 2007. 16. Postmodernist Literature and Theater, by Fran Mason, 2007. 17. Irish Cinema, by Roderick Flynn and Pat Brereton, 2007. 18. Australian Radio and Television, by Albert Moran and Chris Keating, 2007. 19. Polish Cinema, by Marek Haltof, 2007. 20. Old-Time Radio, by Robert C. Reinehr and Jon D. Swartz, 2008. 21. Renaissance Art, by Lilian H. Zirpolo, 2008. 22. Broadway Musical, by William A. Everett and Paul R. Laird, 2008. 23. American Theater: Modernism, by James Fisher and Felicia Hardison Londré, 2008. 24. German Cinema, by Robert C. Reimer and Carol J. Reimer, 2008. 07_677 (01) FM.qxd 1/15/08 6:20 PM Page ii 07_677 (01) FM.qxd 1/15/08 6:20 PM Page iii Historical Dictionary of German Cinema Robert C.