Newsletter 2004/2005
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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. -
'However Sick a Joke…': on Comedy, the Representation
10 ‘However sick a joke…’: on comedy, the representation of suffering, Rainer Werner Fassbinder’s Melodrama and Volker Koepp’s Melancholy Stephanie Bird Primo Levi invokes the notion of a joke when he first arrives in Auschwitz. The prisoners, who have had nothing to drink for four days, are put into a room with a tap and a card that forbids drinking the water because it is dirty: ‘Nonsense. It seems obvious that the card is a joke, “they” know that we are dying of thirst and they put us in a room, and there is a tap, and Wassertrinken Verboten’.1 In Levi’s example, the relationship of mocked and mocker is clear, as is the moral evaluation that condemns those that would ridicule and taunt the prisoners. Yet in Imre Kertész’s novel Fateless, the moral clarity offered by Levi is obscured is absent from Kertész’s reference to the notion of a joke. In it, the 14 year-old boy, György Köves, describes how the procedure he and his fellow passengers must undergo from arrival in Birkenau to either the gas chambers or showers elicits in him a ‘sense of certain jokes, a kind of student prank’.2 Despite feeling increasingly queasy, for he is aware of the outcome of the procedure, György nevertheless has the impression of a stunt: gentlemen in imposing suits, smoking cigars who must have come up with a string of ideas, first of the gas, then of the bathhouse, next the soap, the flower beds, ‘and so on’ (Fateless, 111), jumping up and slapping palms when they conjured up a good one. -
What's Past Is Prologue: Filming Fascism and the Family in Japan
What’s Past is Prologue: Filming Fascism and the Family in Japan and West Germany in the 1970s Jillian Helena Vasko A Thesis in The Mel Hoppenheim School of Cinema Presented in Partial Fulfillment of the Requirements for the Degree of Master of Arts (Film Studies) at Concordia University, Montreal, Quebec, Canada August 2017 © Jillian Vasko, 2017 CONCORDIA UNIVERSITY School of Graduate Studies This is to certify that the thesis prepared By: Jillian Vasko Entitled: What’s Past is Prologue: Filming Fascism and the Family in Japan and West Germany in the 1970s and submitted in partial fulfillment of the requirements for the degree of Master of Arts (Film Studies) complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final Examining Committee: Marc Steinberg Chair Chair’s name Kay Dickinson Examiner Examiner’s name Yuriko Furuhata Examiner Examiner’s name Joshua Neves Supervisor Supervisor’s name Approved by Marc Steinberg Chair of Department or Graduate Program Director August 30th 2017 Rebecca Taylor Duclos Dean of Faculty Abstract: This thesis theorizes the correlation between national historical trauma in Japan and West Germany, and the excessive, gendered and often sexualized violence inflicted upon and by women protagonists in films emerging from these nations in the 1970s. The thesis provides a comparative analysis of two films which investigate the origins of ‘fascism’ in their nation through the allegory of the female protagonist and her relationship to the institution of the family: Toshiya Fujita’s 1973 Lady Snowblood (Shurayukihime) and Rainer Werner Fassbinder’s 1974 film Martha. -
Newsletter 2004/2005
THE FASSBINDER FOUNDATION Newsletter 2004/2005 Dear Friends, Partners, Followers and Supporters of RWFF and FF Inc., Since we did not send out a Newsletter last year we thought we should not delay in sending you this year's Newsletter before the spring is out. To start with, there is one especially good piece of news: we have "modernized" our website. In future, you will be able to find the latest reports and information at www.fassbinderfoundation.de under the heading NEWS. The German version is running since March 1, 2005, the English version will be ready shortly, and the French version from April 1, 2005 on. It is not only past events which we have cause to celebrate. We were particularly delighted to move offices in December 2003 to our new base at Giesebrechtstrasse 7, which is in the Berlin district of Charlottenburg not far from the Kurfürstendamm. Our new premises have been specially designed for our needs, and the move was organized so impeccably by our employee and Curator Dr. Daniel Kletke, who heads up logistics and coordination, that just one day after the official moving date, we were able to resume daily business. Since 2000 –and thus also last year –the focus of our work has been on the development and prepa- ration of our extensive RWF manuscript archive as well as preparations for releasing further Fass- binder films on DVD. With 24 titles having been released in the USA to date, this year we are launch- ing DVD editions in France, Belgium, Spain and Japan. From April 2005, the titles of sets 3 and 4 al- ready announced by e-m-s will be continued by Kinowelt Home Entertainment under the Arthaus label. -
Neue Deutsche Filme 76/77
27. Internationale Filmfestspiele Neue deutsche Filme Berlin 24.6.-5. 7.1977 76/77 - Filmmesse - 7. Internationales Forum des Jungen Films CHINESISCHES ROULETTE „Acht Personen in einem fränkischen Schloß: Eingeschlossene ihrer von Haß und Mißtrauen, Eifersucht und Neid beherrschten Gefühle. Genüßlich ritualisiert Fassbinder ihre destruktiven Chinese Roulette Neigungen mit dem Chinesischen Roulette, einer Art Vernich• tungsspiel, als Höhepunkt. Sehenswert wird die im Grunde ba• nale Geschichte, die sehr nach einem für den Fasst»inderschen La roulette chinoise Hausgebrauch zurechtgestutzten Existenzialismus aussieht, durch die vollendete Form der Inszenierung: die elegante Ka• meraführung (Michael Ballhaus) definiert mit subtilen, kaum Bundesrepublik Deutschland 1976. Produktion: Albatros-Pro• merklichen Bewegungen die Beziehungen der Figuren zueinan• duktion, München/Les Films du Losange, Paris. Regie: Rainer der, das Darsteller-Ensemble, in dem neben Fassbinder-Schau• Werner Fassbinder. Buch: Rainer Werner Fassbinder. Kamera: spielern wie Margit Carstensen und Ulli Lommel auch die fran• Michael Ballhaus. Schnitt/Regieassistenz: IIa von Hasperg. zösischen Stars Macha Meril und Anna Karina agieren, besticht Musik: Peer Raben. Ausstattung: Curd Melber. Herstellungslei• durch seine Homogenität. Kühl und überlegt setzt Fassbinder tung: Michael Fengler. Darsteller: Margit Carstensen (Ariane Muster und Mittel des Melodrams ein, wie ein Mathematiker, der Christ), Anna Karina (Irene), Alexander Allerson (Gerhard eine Gleichung beweisen will. So -
Absurd Black Humour As Social Criticism in Contemporary European Cinema
This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Absurd Black Humour as Social Criticism in Contemporary European Cinema Eszter Simor Doctor of Philosophy The University of Edinburgh 2019 Submitted in satisfaction of the requirements for the degree of PhD in Film Studies at the University of Edinburgh This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (PhD) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non- commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. -
May 2012 Featuring
N-SPHERE a world behind curtains | may 2012 FEATURING RAMIRO TAPIA GUSTAVE DORÉ FLYN VIBERT R. W. FASSBINDER MATEUSZ ODROBNY LA CITTÀ MURATA 1 | N-SPHERE MAY 2012 EDITORIAL TRANQUILIZERS »Scharr, scharr, verscharr das Ge- as portrayed in Fassbinder's The bein.« Not all basements are si- Bitter Tears of Petra von Kant. The lent. Some float around in bone sensations don't last, fake murals on bone action, with the dark- coming apart under the heavy ened firepit at their centre, smoke blows of Mateusz Odrobny's urban silently rising up from charred re- visual spaces. »Hier tobte sich der mains. Teufel aus: unten im Keller, im Kno- chenhaus« »Scharr, scharr, verscharr das Ge- bein, grab es tief unten im Keller »Scharr, scharr, verscharr das Ge- ein.« Some basements are laby- bein. Leg auch ihre weißen Schädel rinths. They run deep into dream hinein.« Spiralling backwards, the worlds, along the perfect blue of beheaded white bones clumsily Ramiro Tapia's works. There is a rattle of Gustave Doré's legacy. sky opening inside these spaces, The falling into history runs paths suffusing the darkness in cold through the basements walls, right flames. Along the walls, shad- into the stone confinements of ows take form and color, with the Conegliano's La città murata. »Mit works of Flyn Vibert. »Später dann Beton gießt du es aus: das Funda- graben es andere aus und nennen ment vom Knochenhaus.« dein Haus: das Knochenhaus« Some basements are dark, some »Scharr, scharr, verscharr das Ge- basements just breathe. »Scharr, bein. Da ist noch Platz, da paßt scharr, verscharr das Gebein.« noch wer rein.« Some basements are play houses, in a strictly non- quotes | Janus. -
Inventory to Archival Boxes in the Motion Picture, Broadcasting, and Recorded Sound Division of the Library of Congress
INVENTORY TO ARCHIVAL BOXES IN THE MOTION PICTURE, BROADCASTING, AND RECORDED SOUND DIVISION OF THE LIBRARY OF CONGRESS Compiled by MBRS Staff (Last Update December 2017) Introduction The following is an inventory of film and television related paper and manuscript materials held by the Motion Picture, Broadcasting and Recorded Sound Division of the Library of Congress. Our collection of paper materials includes continuities, scripts, tie-in-books, scrapbooks, press releases, newsreel summaries, publicity notebooks, press books, lobby cards, theater programs, production notes, and much more. These items have been acquired through copyright deposit, purchased, or gifted to the division. How to Use this Inventory The inventory is organized by box number with each letter representing a specific box type. The majority of the boxes listed include content information. Please note that over the years, the content of the boxes has been described in different ways and are not consistent. The “card” column used to refer to a set of card catalogs that documented our holdings of particular paper materials: press book, posters, continuity, reviews, and other. The majority of this information has been entered into our Merged Audiovisual Information System (MAVIS) database. Boxes indicating “MAVIS” in the last column have catalog records within the new database. To locate material, use the CTRL-F function to search the document by keyword, title, or format. Paper and manuscript materials are also listed in the MAVIS database. This database is only accessible on-site in the Moving Image Research Center. If you are unable to locate a specific item in this inventory, please contact the reading room. -
German Videos Use the Find Function to Search This List
German Videos Use the Find function to search this list Aguirre, The Wrath of God Director: Werner Herzog with Klaus Kinski. 1972, 94 minutes, German with English subtitles. A band of Spanish conquistadors travels into the Amazon jungle searching for the legendary city of El Dorado, but their leader’s obsessions soon turn to madness.LLC Library CALL NO. GR 009 Aimée and Jaguar DVD CALL NO. GR 132 Ali: Fear Eats the Soul Director: Rainer Werner Fassbinder. with Brigitte Mira, El Edi Ben Salem. 1974, 94 minutes, German with English subtitles. A widowed German cleaning lady in her 60s, over the objections of her friends and family, marries an Arab mechanic half her age in this engrossing drama. LLC Library CALL NO. GR 077 All Quiet on the Western Front DVD CALL NO. GR 134 A/B Alles Gute (chapters 1 – 4) CALL NO. GR 034-1 Alles Gute (chapters 13 – 16) CALL NO. GR 034-4 Alles Gute (chapters 17 – 20) CALL NO. GR 034-5 Alles Gute (chapters 21 – 24) CALL NO. GR 034-6 Alles Gute (chapters 25 – 26) CALL NO. GR 034-7 Alles Gute (chapters 9 – 12) CALL NO. GR 034-3 Alpen – see Berlin see Berlin Deutsche Welle – Schauplatz Deutschland, 10-08-91. [ Opening missing ], German with English subtitles. LLC Library Alpine Austria – The Power of Tradition LLC Library CALL NO. GR 044 Amerikaner, Ein – see Was heißt heir Deutsch? LLC Library Annette von Droste-Hülshoff CALL NO. GR 120 Art of the Middle Ages 1992 Studio Quart, about 30 minutes. Masterpieces of the Hermitage – Museum of St. -
Sight & Sound Annual Index 2017
THE INTERNATIONAL FILM MAGAZINE Index to Volume 27 January to December 2017 Compiled by Patricia Coward How to use this Index The first number after a title refers to the issue month, and the second and subsequent numbers are the page references. Eg: 8:9, 32 (August, page 9 and page 32). THIS IS A SUPPLEMENT TO SIGHT & SOUND SUBJECT INDEX SUBJECT INDEX After the Storm (2016) 6:52(r) Amour (2012) 5:17; 6:17 Armano Iannucci Shows, The 11:42 Ask the Dust 2:5 Bakewell, Sarah 9:32 Film review titles are also interview with Koreeda Amours de minuit, Les 9:14 Armisen, Fred 8:38 Asmara, Abigail 11:22 Balaban, Bob 5:54 included and are indicated by Hirokazu 7:8-9 Ampolsk, Alan G. 6:40 Armstrong, Jesse 11:41 Asquith, Anthony 2:9; 5:41, Balasz, Béla 8:40 (r) after the reference; age and cinema Amy 11:38 Army 2:24 46; 10:10, 18, 44 Balch, Antony 2:10 (b) after reference indicates Hotel Salvation 9:8-9, 66(r) An Seohyun 7:32 Army of Shadows, The Assange, Julian Balcon, Michael 2:10; 5:42 a book review Age of Innocence, The (1993) 2:18 Anchors Aweigh 1:25 key sequence showing Risk 8:50-1, 56(r) Balfour, Betty use of abstraction 2:34 Anderson, Adisa 6:42 Melville’s iconicism 9:32, 38 Assassin, The (1961) 3:58 survey of her career A Age of Shadows, The 4:72(r) Anderson, Gillian 3:15 Arnold, Andrea 1:42; 6:8; Assassin, The (2015) 1:44 and films 11:21 Abacus Small Enough to Jail 8:60(r) Agony of Love (1966) 11:19 Anderson, Joseph 11:46 7:51; 9:9; 11:11 Assassination (1964) 2:18 Balin, Mireille 4:52 Abandon Normal Devices Agosto (2014) 5:59 Anderson, Judith 3:35 Arnold, David 1:8 Assassination of the Duke Ball, Wes 3:19 Festival 2017, Castleton 9:7 Ahlberg, Marc 11:19 Anderson, Paul Thomas Aronofsky, Darren 4:57 of Guise, The 7:95 Ballad of Narayama, The Abdi, Barkhad 12:24 Ahmed, Riz 1:53 1:11; 2:30; 4:15 mother! 11:5, 14, 76(r) Assassination of Trotsky, The 1:39 (1958) 11:47 Abel, Tom 12:9 Ahwesh, Peggy 12:19 Anderson, Paul W.S. -
Fassbinder Rétrospective 11 Avril – 16 Mai
RAINER WERNER FASSBINDER RÉTROSPECTIVE 11 AVRIL – 16 MAI Lola, une femme allemande 66 LE MONDE COMME VOLONTÉ ET REPRÉSENTATION Venu du théâtre, auteur d’une imposante œuvre cinématographique et télé- visuelle interrompue par sa mort prématurée, Fassbinder a été l’une des plus puissantes figures du nouveau cinéma allemand. Ses films dénoncent un certain état de la société allemande, sa violence de classes et le refoulé de son passé nazi. « Pas d’utopie est une utopie. » Rainer Werner Fassbinder, 1971 Rainer Werner Fassbinder comparait sa filmographie à une maison. Les mauvaises langues sont tentées d’orner l’entrée de l’édifice d’un dantesque « Désespoir », en anglais Despair – comme son adaptation du roman éponyme de Vladimir Nabokov (1978). C’est oublier, au-delà de la chape de plomb existentielle associée à son ciné- RAINER WERNER FASSBINDER WERNER RAINER ma (Années 70 ! Papier peint brunâtre !), que le sous-titre de Despair était Voyage vers la lumière. Tendue entre ciel et terre, la beauté mélancolique de l’œuvre de Fassbinder est celle d’un cinéma de l’utopie, sous le sceau du rimbaldien « Je est un autre » qu’un personnage lâche dans sa pièce L’Ordure, la Ville et la Mort. L’archétype du personnage fassbinderien se projette, rêve d’une âme frère/sœur avec qui il ne ferait qu’un, son double, son reflet mais aussi (et surtout) son bour- reau. « Chaque homme tue ce qu’il aime », chantait Jeanne Moreau dans Querelle. Le coup de foudre entre le personnage-titre de Martha et son futur époux, traité comme un ballet de poupées mécaniques, témoigne de la ferveur fantasmatique dans laquelle le protagoniste fassbindérien se noie par amour et pour cette utopie. -
Rainer Werner Fassbinder Rétrospective 11 Avril – 16 Mai
RAINER WERNER FASSBINDER RÉTROSPECTIVE 11 AVRIL – 16 MAI Lola, une femme allemande 66 LE MONDE COMME VOLONTÉ ET REPRÉSENTATION Venu du théâtre, auteur d’une imposante œuvre cinématographique et télé- visuelle interrompue par sa mort prématurée, Fassbinder a été l’une des plus puissantes figures du nouveau cinéma allemand. Ses films dénoncent un certain état de la société allemande, sa violence de classes et le refoulé de son passé nazi. « Pas d’utopie est une utopie. » Rainer Werner Fassbinder, 1971 Rainer Werner Fassbinder comparait sa filmographie à une maison. Les mauvaises langues sont tentées d’orner l’entrée de l’édifice d’un dantesque « Désespoir », en anglais Despair – comme son adaptation du roman éponyme de Vladimir Nabokov (1978). C’est oublier, au-delà de la chape de plomb existentielle associée à son ciné- RAINER WERNER FASSBINDER WERNER RAINER ma (Années 70 ! Papier peint brunâtre !), que le sous-titre de Despair était Voyage vers la lumière. Tendue entre ciel et terre, la beauté mélancolique de l’œuvre de Fassbinder est celle d’un cinéma de l’utopie, sous le sceau du rimbaldien « Je est un autre » qu’un personnage lâche dans sa pièce L’Ordure, la Ville et la Mort. L’archétype du personnage fassbinderien se projette, rêve d’une âme frère/sœur avec qui il ne ferait qu’un, son double, son reflet mais aussi (et surtout) son bour- reau. « Chaque homme tue ce qu’il aime », chantait Jeanne Moreau dans Querelle. Le coup de foudre entre le personnage-titre de Martha et son futur époux, traité comme un ballet de poupées mécaniques, témoigne de la ferveur fantasmatique dans laquelle le protagoniste fassbindérien se noie par amour et pour cette utopie.