In Rainer Werner Fassbinder's Fear Eats the Soul (Angst Essen Seele Auf, 1974) Emma (Brigitte Mira), a working-class widow and former member of the Nazi party, marries Ali (El Hedi ben Salem), a much younger Moroccan migrant worker. Set in Munich during the 1970s, the film melds the conventions of melodrama with a radical sensibility to present a portrait of racism and everyday hypocrisy in post-war Germany. It is a film about the way conventional society detests anything and anybody unfamiliar - but also a film about the hopes and limits of love. Intricately directed, beautifully performed, and designed to show Munich life in all its shabby kitschiness, Fear Eats the Soul may be Fassbinder's finest film. Laura Cottingham celebrates Fassbinder's achievement, placing Fear Eats the Soul in relation to his extraordinarily prolific career in theatre, film and television. Her analysis pulls back the thin curtain that separated his work from his tumultuous life. She also explores the director's debt to the lush Hollywood melodramas made by fellow German Douglas Sirk, especially All That Heaven Allows (1955). In a detailed scene-by-scene analysis, Cottingham shows how Fassbinder managed to combine beauty and tenderness with fierce political critique.
Laura Cottingham celebrates Fassbinder's achievement, placing Fear Eats the Soul in relation to his extraordinarily prolific career in theatre, film and television.
From speeches to cartoons to social media posts, Ruth Wodak systematically analyzes the texts and images used by these groups, laying bare the strategies, rhetoric and half-truths the far-right employ.
It traces the evolution of the collections from Athanasius Kircher's 17th-century Wunderkammer to modern museums, and points the way for projects yet to come.
With this stellar collection of essays, the achievements of his career unfold in all their astonishing range and diversity, across all their beauties and shocks, with all their pleasures and difficulties.” Timothy Corrigan, University of ...
This book re-examines the film and its place in Rossellini's career. David Forgacs reconstructs its production history, its relationship to the events that inspired it and the time in which it was made.
It is a matter of speculation whether these models came to Fassbinder directly from the nouvelle vague, or via the debut films of Rudolf Thome, Klaus Lemke and Roland Klick, three 'tough-guy' directors also based in Munich in the late ...
Steven Ungar's foreword to this new edition looks back upon Varda's film-making career and considers her contributions as a female auteur and in the context of the French New Wave.
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.
Chris Fujiwara's critical biography--the first in more than thirty years--follows Preminger throughout his varied career, penetrating his carefully constructed public persona and revealing the many layers of his work.
The contributors consider the apartment plot's intersections with film noir, horror, comedy, and the musical, addressing how different national or historical contexts modify the apartment plot and how the genre's framework allows us to ...