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Rainer Werner Fassbinder is one of the most prominent and important authors of post-war European cinema. Thomas Elsaesser is the first to write a thoroughly analytical study of his work. He stresses the importance of a closer understanding of Fassbinder's career through a re-reading of his films as textual entities. Approaching the work from different thematic and analytical perspectives, Elsaesser offers both an overview and a number of detailed readings of crucial films, while also providing a European context for Fassbinder's own coming to terms with fascism.

Rainer Werner Fassbinder was the most innovative practitioner of New German Cinema. He worked at breakneck speed and in fourteen years made forty-four films, including Ali: Fear Eats the Soul (1973) and The Marriage of Maria Braun (1978). Fassbinder ruthlessly attacked both German bourgeois society and the larger limitations of humanity, and his films detail the desperate yearning for love and freedom and the many ways in which society defeats that desire.In Fassbinder, Christian Thomsen, a close friend of the director, illuminates Fassbinder's body of work while revealing his insider views of a man who, despite a furious temper, manic working habits, and rampant drug addiction, supported an extended family- including his mother, a string of male lovers, lovelorn women, and even a pair of frustrated wives-with his intoxicating and prolific imagination. This book, like Fassbinder's often-used image of the mirror, brilliantly reflects the sexual, political, and overwhelmingly human contradictions inherent in the life of this intensely creative man and the remarkable films he directed.Christian Braad Thomsen is a Danish filmmaker and scholar.

Rainer Werner Fassbinder was the most innovative practitioner of New German Cinema. He worked at breakneck speed and in fourteen years made forty-four films, including Ali: Fear Eats the Soul (1973) and The Marriage of Maria Braun (1978). Fassbinder ruthlessly attacked both German bourgeois society and the larger limitations of humanity, and his films detail the desperate yearning for love and freedom and the many ways in which society defeats that desire.In Fassbinder, Christian Thomsen, a close friend of the director, illuminates Fassbinder's body of work while revealing his insider views of a man who, despite a furious temper, manic working habits, and rampant drug addiction, supported an extended family- including his mother, a string of male lovers, lovelorn women, and even a pair of frustrated wives-with his intoxicating and prolific imagination. This book, like Fassbinder's often-used image of the mirror, brilliantly reflects the sexual, political, and overwhelmingly human contradictions inherent in the life of this intensely creative man and the remarkable films he directed.Christian Braad Thomsen is a Danish filmmaker and scholar.

Film-maker Christian Thomsen uses his film knowledge to examine the 44 films of renowned German film-maker Rainer Werner Fassbinder. Through his friendship with Fassbinder, Thomsen has the knowledge of the man that others do not and reveals little-known details of Fassbinder's short but brilliant life. A complete retrospective of Fassbinder's films is scheduled to tour the U.S.

A rich and exciting new urban fantasy, perfect for fans of Harry Dresden and Peter Grant.Verity Fassbinder has her feet in two worlds. The daughter of one human and one Weyrd parent, she has very little power herself, but does claim unusual strength and the ability to walk between one world and the other as a couple of her talents. A rarity, she is charged with keeping the peace, and ensuring the Weyrd remain hidden.But now Sirens are dying, illegal wine made from the tears of human children is for sale - and in the hands of those who hold to old, dangerous ways - and someone has released an unknown and terrifyingly destructive force on the streets of Brisbane.Verity must investigate, or risk ancient forces carving the world apart.Vigil is the first book in award-winning author Angela Slatter's Verity Fassbinder series.'Slatter's work is excellent, and eminently readable . . . It's easy to see how she's managed to make such an impact on the genre' - British Fantasy Society

Watch out, Harry Dresden, Kinsey Milhone and Mercy Thompson: there's a new kick-ass guardian in town and Verity Fassbinder's taking no nonsense from anyone, not even the fox-spirit assassins who are invading Brisbane in this fast-paced sequel to VIGIL. Life in Brisbane is never simple for those who walk between the worlds. Verity's all about protecting her city, but right now that's mostly running surveillance and handling the less exciting cases for the Weyrd Council - after all, it's hard to chase the bad guys through the streets of Brisbane when you're really, really pregnant. 'Verity is the best thing about the book . . . she's a surly, straight-talking, Doc Marten-wearing punchbag who investigates Weyrd-related crime on behalf of the beleaguered "normal" police' (SFX) An insurance investigation sounds pretty harmless, even if it is for 'Unusual Happenstance'. That's not usually a clause Normals use - it covers all-purpose hauntings, angry genii loci, ectoplasmic home invasion, demonic possession, that sort of thing - but Susan Beckett's claimed three times in three months. Her house keeps getting inundated with mud, but she's still insisting she doesn't need or want help . . . until the dry-land drownings begin. V's first lead in takes her to Chinatown, where she is confronted by kitsune assassins. But when she suddenly goes into labour, it's clear the fox spirits are not going to be helpful. Corpselight, the sequel to Vigil, is the second book in the Verity Fassbinder series by award-winning author Angela Slatter. 'Simply put: Slatter can write! She forces us to recognise the monsters that are ourselves' Jack Dann, award-winning author.

Fassbinder's version of modern post-civilized terror was, like much else about his work, ahead of its time. --San Francisco Chronicle

 ."The Marriage of Maria Braun" is the fourth volume in the Rutgers Films in Print Series and the most contemporary of those to appear in it thus far. Because of the enormous influence of New German Cinema and the importance of Fassbinder himself, the film is already considered a classic. "Maria Braun" is its director's attempt to recount and assess postwar German history through the personal example of his main character, played brilliantly by Hanna Schygulla. It is also a tribute to the Hollywood directors of the women's movies of the thirties and forties. Maria, and in the loose allegory Fassbinder has constructed, Germany itself, in their cold acquisitiveness and materialism, melodramatically rise from the ashes of World War II only to veer toward an inevitable doom that takes the film full circle, recalling the film's opening shots of a city reduced to rubble. This volume contains the editor's introduction, a chronology of the the years 1943-1954, a biographical sketch of Fassbinder, the full transcript of the film as released, notes on the shooting script, interviews with the scriptwriter and director, commentary on Douglas Sirk by Fassbinder, reviews, commentaries by Thomas Elsaesser and Sheila Johnston, a filmography, and a bibliography. --This text refers to the Paperback edition.

A Companion to Rainer Werner Fassbinder is the first of its kind to engage with this important figure. Twenty-eight essays by an international group of scholars consider this controversial director's contribution to German cinema, German history, gender studies, and auteurship. A fresh collection of original research providing diverse perspectives on Fassbinder’s work in films, television, poetry, and underground theatre. Rainer Werner Fassbinder remains the preeminent filmmaker of the New German Cinema whose brief but prolific body of work spans from the latter half of the 1960s to the artist’s death in 1982. Interrogates Fassbinder’s influence on the seminal ideas of his time: auteurship, identity, race, queer studies, and the cataclysmic events of German twentieth century history Contributions from internationally diverse scholars specializing in film, culture, and German studies. Includes coverage of his key films including: Gods of the Plague (1970), Beware of a Holy Whore (1971), The Bitter Tears of Petra von Kant (1972), Martha (1973) (TV), World on a Wire (1973), Effi Briest (1974), Ali: Fear Eats the Soul (1974), Fox and His Friends (1975),  Fear of Fear (1975), Chinese Roulette (1976), In a Year With 13 Moons (1978), Despair (1978), The Third Generation (1979), Berlin Alexanderplatz (1980) (TV), and Querelle (1982).

A Companion to Rainer Werner Fassbinder is the first of its kind to engage with this important figure. Twenty-eight essays by an international group of scholars consider this controversial director's contribution to German cinema, German history, gender studies, and auteurship. A fresh collection of original research providing diverse perspectives on Fassbinder’s work in films, television, poetry, and underground theatre. Rainer Werner Fassbinder remains the preeminent filmmaker of the New German Cinema whose brief but prolific body of work spans from the latter half of the 1960s to the artist’s death in 1982. Interrogates Fassbinder’s influence on the seminal ideas of his time: auteurship, identity, race, queer studies, and the cataclysmic events of German twentieth century history Contributions from internationally diverse scholars specializing in film, culture, and German studies. Includes coverage of his key films including: Gods of the Plague (1970), Beware of a Holy Whore (1971), The Bitter Tears of Petra von Kant (1972), Martha (1973) (TV), World on a Wire (1973), Effi Briest (1974), Ali: Fear Eats the Soul (1974), Fox and His Friends (1975),  Fear of Fear (1975), Chinese Roulette (1976), In a Year With 13 Moons (1978), Despair (1978), The Third Generation (1979), Berlin Alexanderplatz (1980) (TV), and Querelle (1982).

In 1977, German director Rainer Werner Fassbinder was thirty-two years old and had already directed more than twenty-five feature films. That summer, he embarked on a project to trace the postwar history of West Germany in a series of films told from the perspectives of three remarkable women. Fassbinder's The Marriage of Maria Braun, Veronika Voss, and Lola The BRD Trilogy would garner him his greatest commercial success, both at home and abroad, and cement his position as one of the foremost f

Book is in NEW condition. 0.57

Television, Tabloids, and Tears was first published in 1995. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions."I am Biberkopf," Rainer Werner Fassbinder declared, aligning himself with the protagonist of his widely seen television adaptation of Berlin Alexanderplatz. The statement provoked an unprecedented national debate about what constituted an acceptable German artist and who has the power to determine art. More than any recent German director, Fassbinder embodied this debate, and Jane Shattuc shows us how much this can tell us, not just about the man and his work, but also about the state of "culture" in Germany.It is fascinating in itself that Fassbinder, a highly controversial public figure, was chosen to direct Berlin Alexanderplatz, Germany's longest, costliest, and most widely viewed television drama. Shattuc exposes the dichotomy of institutional support for this project versus the scandalous controversial reputation of Fassbinder as a gay man who flaunted his sexuality and involvement with drugs.Fassbinder built his reputation on two separate images of the director-the faithful adapter and the underground star; with Berlin Alexanderplatz these two identities came together explosively. Tracing the two artistic paths that led Fassbinder to this moment, Shattuc offers us a look at cultural class divisions in Germany. Her account of Fassbinder's history as an Autor reveals both the triumph and the failure of bourgeois cultural domination in postwar West Germany.

Formateinband: Großformat, illustrierter Pappband / gebundene Ausgabe 271 S. (26x28,5 cm) 1. Aufl.; (Mit zahlreichen Fotos); Gut und sauber erhalten! Sprache: Deutsch Gewicht in Gramm: 2200 [Stichwörter: Katalog zur Ausstellung, Bildband, Ausstellungskatalog, Film, Theater]

Includes Love Is Colder Than Death, Katzelmacher, Gods Of The Plague, The American Soldier and Beware Of A Holy Whore.

This book is an attempt to trace and illuminate, through interviews with colleagues, friends, and contemporaries, different perspectives about Rainer Werner Fassbinder.

xi-xxiii, 245pp; page edges tanned, black d/j scuffed and has edgewear, white title to spine. Size: 8vo - over 7¾" - 9¾" tall

New German Cinema icon Rainer Werner Fassbinder (World on a Wire) kicked off a new phase of his young career when he made the startling The Merchant of Four Seasons. In this despairing yet mordantly funny film, Fassbinder charts the decline of a self-destructive former policeman and war veteran struggling to make ends meet for his family by working as a fruit vendor. Fassbinder had skyrocketed to renown on the acclaim of a series of trenchant, quickly made early films, but for this one he took m

Heaven's Gate, by comparison, was a party in Paradise. Some of cinema's legendary artists – renowned for their work with Fellini, Godard, Fassbinder, and Herzog among others – would unwittingly unite to create the greatest financial disaster in movie history: The Adventures of Baron Munchausen. Andrew Yule goes behind the scenes of Gilliam's epic and unravels, twist by agonizing twist, the contorted drama which saw the original budget of $23.5 million rocket to an astronomical $46 million – making it one of the most expensive features in history. Hardcover.

Knight explores the context from which the films made by Fassbinder, Wenders, Herzog, von Trotta and others emerged during the late 1960s through to the mid-1980s. It examines the American dominance of the German market place, the development of a film subsidy system, the notion and politics of an Autorenkino, the framework of European art cinema, and distribution and exhibition initiatives that helped shape a new national cinema.