SO 10. JUNI / 15:00 / .CHB PANORAMASAAL / VORTRÄGE UND GESPRÄCHE (IN ENGLISCHER SPRACHE)
J. HOBERMAN: „THE SINGLE ANTIDOTE TO THOUGHTS OF SUICIDE: FASSBINDER'S AMERICAN RECEPTION”
Exotic yet familiar, astonishingly prolific, R.W. Fassbinder had a greater impact on American cineastes and independent filmmakers than any European auteur since Jean-Luc Godard in the ‘60s. But the ‘70s were not the ‘60s and Fassbinder’s greatest period was almost behind him by the time he was discovered by a larger US audience. What did this prodigy mean to Americans then and what is his legacy now?
J. Hoberman, born 1948 in Brooklyn, NY, film critic and author. He started at The Village Voice in the 1970s, and was the senior film critic from 1988 to 2012. Books (selection): Vulgar Modernism: Writing on Film and Other Media (1991), The Magic Hour: Film at Fin de Siècle (2003), The Dream Life: Movies, Media, and the Mythology of the Sixties (2003), An Army of Phantoms: American Movies and the Making of the Cold War (2011).
In Fassbinder’s work everything is conceived as historical. But what does that mean? Appropriating BERLIN ALEXANDERPLATZ he inverted it’s temporal sequence and retroactively shaped some of Döblin’s rather inauspicious predecessions. That allowed him a discussion German fascism and the Holocaust through a pre-1933 text. Fassbinder put “Alexanderplatz”’ symbolism to further use in IN A YEAR WITH 13 MOONS and THE GARBAGE, THE CITY, AND DEATH.
Manfred Hermes is an author and critic based in Berlin. Numerous inquiries on contemporary art and narrative film in magazines, newspapers and catalogues. Single book publications on Ull Hohn and Martin Kippenberger. Recently released and now in its second edition: „Deutschland hysterisieren. Fassbinder, Alexanderplatz“ (b_books 2011).
THOMAS ELSAESSER: „TIME WARPS AND TIME EXPOSURES: 1979, FASSBINDER AND 'THE THIRD GENERATION'”
Anniversaries and commemorations have become our culture’s most dominant form of historical recall and return. In my talk I shall take a particular year – this time neither 1968 nor 1982, but 1979, in order to try and reconstruct through its heterogeneous elements a “topography of historical simultaneity”. Skimming both the surface of coincidence and digging into the deeper layers of long-term processes, I want to use Fassbinder’s THIRD GENERATION as a probe to explore what unexpected connections become visible in retrospect: I shall claim that this parallels the film’s own strategy of layering its plot in order to produce striking contiguities of meaning.
Thomas Elsaesser, born 1943 in Berlin, film historian and professor for Film and Television Studies at the University of Amsterdam. Author of numerous books, including the refernece study on Fassbinder Fassbinder’s Germany. History, Identity, Subject (1996, auf Deutsch „Rainer Werner Fassbinder“ 2001/2012).
DISKUSSION MIT THOMAS ELSAESSER, MANFRED HERMES, J. HOBERMAN, VERENA LUEKEN. MODERATION: DAVID HUDSON (in englischer Sprache)
Später... Live-Übertragung des EM-Fußballspiels Spanien–Italien im Café des .CHB
(Eingestellt von Christoph)