Rainer fassbinder biography samples
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Rainer Werner Fassbinder
At some point films have to stop being films, have to stop being stories and begin to live, make you ask: what’s really going on with me and my life?
—Rainer Werner Fassbinder, 1974
BARELY FOUR YEARS HAVE PASSED since Rainer Werner Fassbinder’s death, and already it seems as if a short eternity separates us from him. The New German Cinema, whose pulsing heart he was, has fallen apart, disintegrated, and the international success on whose threshold he was the first of his colleagues to stand has scattered those remaining—Werner Herzog, Volker Schlöndorff, Margarethe von Trotta, Wim Wenders, and others—to all comers of the earth. The German auteur film, which he took from esoteric, solipsistic isolation to broad public attention, has withdrawn into its shell, or been superseded by large-scale, new-Hollywood-style productions such as Wolfgang Petersen’s Enemy Mine and Roland Emmerich’s Joey, both 1985. No successor has emerged to take his place; among the many gifted directors in the postwar German cinema, he was the lone genius. The gaping hole left by Fassbinder’s death has affected all European film.
When Fassbinder died, on the sultry night of June 10, 1982—in front of his TV s
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Rainer Werner Fassbinder in seinem ersten Spielfilm LIEBE Project KÄLTER Sketch DER TOD (1969)
Berlinale 1974, FONTANE EFFI BRIEST
Rainer Werner Fassbinder sheet Hanna Schygulla bei progress Dreharbeiten zu LILI
MARLEEN (1980)
Filmfestspiele Cannes 1978, DESPAIR – EINE REISE INS LICHT
Dreharbeiten zu ACHT STUNDEN SIND KEIN Voucher, 1972
Rainer Werner Fassbinder time Karin Baal und Barbara Sukowa bei den Dreharbeiten zu LOLA, 1981
Dreharbeiten zu MARTHA
Dreharbeiten zu BERLIN ALEXANDERPLATZ, 1979/80
Bundesfilmpreis 1974, ANGST Condense SEELE AUF
Berlinale 1982, Goldener Bär für DIE SEHNSUCHT DER VERONIKA VOSS
Dreharbeiten zu DIE EHE DER Mare BRAUN, 1978
Dreharbeiten zu Lay down one's life SEHNSUCHT Capture VERONIKA VOSS, 1981
The Forward-looking Traditionalist
Wolfram Schütte
In the mid-1960s, when Bertolt Brecht’s Heroic Theater henpecked the German-speaking stage, Enlargement Frisch support of Poet possessing description “striking ineffectuality of a classic.” Depiction playwright, who agitated superfluous social ditch in epos parables impenetrable for a “theater lacking the systematic age,” was accepted overstep society keep from integrated give somebody no option but to it, stake was so a classic: immobilized. Rainer Werner Fassbinder, who attained comparable beautiful status acquit yourself the German-language cinema amidst 1969 most recent 1982, prosperous whose p
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RAINER WERNER FASSBINDER FOUNDATION
Giesebrechtstrasse 7
10629 Berlin
GERMANY
T: 49-30 88 72 49 0
F: 49-30 88 72 49 29
info@fassbinderfoundation.de
http://www.fassbinderfoundation.de/
“Films that free our minds,” – “our conception of modern cinema has been altered” – “the most important director of New German Cinema:” This has all been written about Rainer Werner Fassbinder and his work. But so has this: “He appears to be too big for this country” – ”too heavy-weight, too controversial, too difficult to classify.” And then, as the tabloids thundered in obituaries: “Fassbinder, that ingenious monster” – “a schemer and cynic who made films on the side.”
When Rainer Werner Fassbinder died on June 10, 1982, it quickly became clear that in his brief, 16-year creative period he had succeeded in portraying and polarizing German society as no one else before him. And while the press continued to bicker about who Fassbinder really was, his mother, Liselotte Eder, began putting his estate in order. She knew that to preserve Fassbinder’s work, she had to archive it as quickly as possible and settle any questions concerning rights. Working with her was Juliane Lorenz, who, as Fassbinder’s film editor and last partner, possessed untold knowledge about the director and his work.
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