Ali Fear Ears The Soul Analysis

Ali Fear Ears The Soul Analysis
Ali: Fear Ears the Soul by Reiner W. Fassbinder is a German melodrama film released in 1974. The
plot revolved around a romantic relationship between an Arab man and an older German woman.
The film showed the struggles both sides had to go through to be with eachother, specifically
regarding racism and ageism. After the second world war, new national cinemas started to garner
attention, specifally the German cinema. Film became an important part of propaganda during
Hitlers reign. When new German cinema started making its way back into the cimenatic world, it
became a form of that seemed important. For almost 20 years, Germans were just watching
American films, and it was now time that German citizens started to watch German cinema again. It
was reflective of where they wanted to be culturally. Germany wanted to project strong German
cinema to the rest of the world, using film as one of their most powerful things to offer. A group of
about 15 German filmmakers came together and made a production and distribution company. This
company allowed fillmakers to continue to create the low budget films that allowed them to
experiment. Fassbinder, specifically, had his own style. He had total control over the movie, so it
was more personal to him. He usually filmed in the same locations with the same cast. Fassbinder
had three primary visual and social settings: the stifling, tawdry world of the working middle class–
their apartments, bars, and shops; the hard, shiny, world of the
... Get more on HelpWriting.net ...

In The Mood For Love Social Control
The social control perspective reminds us that protection objectives may be used to generate and
perpetuate control in our life. In the history of film, many directors try to create films with a setting
of relation of power between looking and being looked at. Some of the films illustrate how the
reality being present through the forms of surveillance, social engineering and message control. In
other words, films are ways to tell the audience, or the public, how the society looks like, and
provides more persuasive and obvious messages. Wong Kar–Wai's In the Mood for Love (2000),
Rainer Werner Fassbinder's Ali: Fear Eats the Soul (1974), and Stanley Kubrick's 2001: A Space
Odyssey (1968) are all able to convey the main social messages at the ... Show more content on
Helpwriting.net ...
In this film, diegetic sounds and non–diegetic sounds effectively help explain the scenarios through
the nature awareness. Kubrick first states that the main concept of the film is forced more on a
visual experience than anything else; however, the layers of sound have actually created a strong
impact and attract the audience's attention. Kubrick demonstrates the nature of humanity by using
the relationships with technology, violence, sexuality, and social awareness. The film first introduces
the importance of violence through the apes that the violence seems to be a way to control others, no
matter in the animal world or the humanity society. In the sequence, "The Dawn of Man," one of the
important scenes illustrates how apes find tools and use them as weapons to fight with each other.
Later, the sequence shows an ape holding the tools and hitting the ground with the tools along with a
dramatic non–diegetic sound emphasizing the significance of the scene, and this scene also
foreshadows that the violence will gradually get more serious relating to the human society later in
the film. Other then the sounds, Kubrick also uses jump cuts from the ape to the monolith, then back
to the ape followed by the animal bodies hitting the ground, finally cutting between the ape and the
tool hitting the ground. With the shots, Kubrick exaggerates the violence to call attention to the
action, so introducing how violence will play an effective role in the rest of the film, as well as how
violence influences the behavior of human as they

Ali All That Heaven Allows Analysis
Rainer Werner Fassbinder updates Douglas Sirk's 1955 All That Heaven Allows and gives it an overt
and somewhat unforgiving political twist in his 1974 film, Ali: Fear Eats the Soul. A director takes a
great artistic risk when admittedly endeavoring to remake an already genre–acclaimed classic; but
rather than being derivative, Ali: Fear Eats the Soul is a fresh commentary on the xenophobic
zeitgeist of post–Nazi Germany. Both films center on the lonely lives of widows who meet and fall
in love with a younger man, only to have this love deemed forbidden by social prejudices. Though
updated, the film is still replete with similarities to its predecessor, and this is what distinguishes it
as a homage to Fassbinder's icon, Sirk, after all. A close examination of the original will clarify the
film's basic tenets and make the inspirations on which Fassbinder drew more visible. All That
Heaven Allows is a melodrama, taking place in the 1950s. It chronicles a chapter in the life of Cary
Scott, an upper–class widow in the autumn of her life, whose life is turned upside–down when she
falls in love with her much younger gardener, Ron. Ron is somewhat of a dissident to the society
which Cary is so immersed in–he reads Thoreau, takes more pride in his greenhouse than his actual
house, and can probably name more species of trees than residents of the town. Rather than a
disconnect, Cary and Ron experience a mutual fascination with each other–much to the dismay of
Cary's high–brow

Brechtian Alienation in Theater Performance Essay
Brechtian Alienation in Community Performance
Eugen Berthold Friedrich Brecht, (b.1898–d.1956), known commonly as Bertolt Brecht, was a
German poet and playwright. One of his major contributions to theatre history was the "alienation
effect" (From the German, "Verfremdungseffekt"). Brechtian alienation requires the removal of the
"fourth wall." This is a term that describes the "suspension of disbelief" by the audience that takes
place during a performance. It is often thought that the audience looks in on the play's action
through an invisible wall, just as the audience during a performance is focused upon a procenium
stage. This is a literal and figurative term. The audience pretends that the characters in the story are
actually alive, ... Show more content on Helpwriting.net ...
The performers know that what they have to say is rehearsed and is for the benefit of the audience.
The political message is of great importance. However, the entire event has an air of surrealism.
A second example of community performance that utilizes the effect of Brechtian Alienation is the
work of the late monologist, Spaulding Gray. Spaulding Gray (1941–2004) was the author and
performer of monologues such as "Swimming to Cambodia" (1987) and "Monster in a Box." (1992)
During his performances, Spaulding sat serenely behind a desk, sipping water as he related stories of
his life, satirized for the benefit of an audience. No subject was taboo. He spoke candidly about
puberty, sex and suicide. His monologues contained many messages, some quite political. Although
he portrayed himself as a character, disassociating himself from many of the painful memories he
shared (such as dealing with the suicide of his mother and his subsequent depression), the audience
was always keenly aware that his work was a reflection of his experience, not a factual reporting of
the experience itself. His words made audiences introspective, leading them to mull over issues of
social justice. His final performance was his own suicide in 2004, pointedly highlighting the issues
facing the mentally ill.
The next example is not motivated by any political agenda. Renaissance

Ali Fear Eat The Soul Thesis
The 1974 melodrama film Ali: Fear Eats the Soul (Angst essen Seele auf) produced and directed by
Rainer Werner Fassbinder follows German charwoman Emmi Kurowski and her struggles against
society concomitant with her relationship with Moroccan guest worker Ali. Situated in West
Germany and filmed the year after the halt on the recruitment of guest workers, this movie can be
interpreted as a response to the debates and issues surrounding the presence of foreign workers.
Native germans frequently disputed and contended the treatment, contributions, and potential to
integrate into the German society that historically rejected the identity as a country of immigration.
The staircase clips from Ali: Fear Eats the Soul highlight the susceptibility ... Show more content on
Helpwriting.net ...
This reflection of the average German's perception of guest workers is brought into focus by Ali:
Fear Eats the Soul to critique the state of Germany's failure to develop effective public policy that
takes into account the reality of the ingrained cultural beliefs of German society. Der Spiegel's 1973
article "The Turks are Coming! Save Yourself if You Can!" reflects both the disconnect between the
German government and the public as well as the general sentiment stereotyping these guest
workers as "foreigners... only welcome in the Federal Republic as exotic and cheap helpers... who
will soon go back to where they came from" (GiT 110.) These disparities combined with blatant
classism and racism permeated German society such that widespread rejection of Emmi and Ali's
relationship, from friends and family to the "professional" workplace, was within German standards
of social conduct. Within this

The Film The Lost Honor Of Katharina Blum
The German films The Lost Honor of Katharina Blum, directed by Dir. Volker Schlondorff and
Margarethe von Trotta in 1975 and The Marriage of Maria Braun, directed by Dir. Rainer Werner
Fassbinder in 1979 both display issues with gender equality. In The Lost Honor of Katharina Blum,
Katharina shares a night with a wanted man and she falls in love with him. She is harassed by the
police and the press when she tells them that she had no part in helping Ludwig Götten, the wanted
terrorist, escape. Katharina is an example of how women were victimized at this time by
establishments run by primarily men, like the police. In The Marriage of Maria Braun, Maria's
husband, Herman, is sent off to battle. After hearing the announced death of her husband, and
experiencing his arrival soon after, Herman is put into prison and Maria promises Herman a life
together once he is released. Against the gender roles present during this time period, Maria works
to attain wealth to fulfill her promise. Though each film presents it differently, both display set
gender roles which provide expectations and issues that Katharina and Maria effectively overcome.
Katharina stands firm, refusing to allow any of the men to control her or to break her through
victimization and harassment. And Maria adapts her femininity in order to exceed the social,
political and cultural expectations set for women. Men play significant roles in both films, they have
a major influence on Katharina and Maria, and they are

Analysis Of Viktor Sklovsky: Art As Device
Viktor Shklovsky: "Art as Technique" or "Art as Device" Viktor Borisovich Shklovsky (1893–1984)
was one of the founders of the intellectual movement OPOJAZ (Obščestvo izučenija Poètičeskogo
Jazyka), also known as "Society for the Study of Poetic Language". Furthermore, Shklovsky was a
brilliant critic, closely tied to Russian Formalism and he became one of the most noted figures in the
Formalist movement in the early twentieth century; "Shklovsky, Boris Eichenbaum, [Vladimir
Propp], Yary Tynyanov, and other Formalists sought to put literary theory on a par with the natural
sciences" (Davis 51). For one thing, these gentlemen sought to understand art by breaking it down
into parts and identifying the different devices in play, "collections ... Show more content on
Helpwriting.net ...
It was in 1917 that Shklovsky, at an astonishing young age, published his essay "Art as Technique",
or "Art as Device", in which he highlights the concepts of defamiliarization and device, and "argues
against the centrality of "images"" (Davis 51). Moreover, in Shklovsky's essay "Art as Technique"
he addresses the general laws of perception, and states that; "We see that as perception becomes
habitual, it becomes automatic" (Davis 55). By giving examples, Shklovsky tries to explain his
criticism and ideas, additionally he claims that: "The purpose of art is to impart the sensation of
things as they are perceived and not as they are known" (Davis 55). What did the Russian critic
Viktor Shklovsky mean with ostranenie, the Russian word usually translated as defamiliarization,
however literally translated as "making strange". This essay explores Shklovsky's concept of
defamiliarization, furthermore it explores different

Ali Fear Eat The Night Comparison
Ali: Fear Eats the Soul, a film made in 1974 and directed by Rainer Werner Fassbinder, is influenced
by Douglas Sirk's 1955 melodrama All That Heaven Allows. Even though there are similarities in
Fassbinder's film, there are also differences. For example, Fassbinder changes the setting, period,
and tone in Ali: Fear Eats the Soul. He transforms the "story from a romanticized if somewhat
satirized New England in the fifties to a de – romanticized Munich in the seventies and uses
ensemble players rather than star actors" (Reimer 282). Fassbinder uses low – class characters, such
as immigrants from Germany, cleaning women, and bar waitresses. Moreover, "Sirk's hero and
heroine choose to exclude themselves from New England social life – they could ... Show more
content on Helpwriting.net ...
In All That Heaven Allows, Cary's children give her a television as a Christmas present, which also
serves as a reward for breaking the relationship that she had with Ron. After the salesman places the
television in Cary's living room, we are zoomed into the frame of the television and only see the
reflection of Cary. The television screen indicates "the shallow middle – class morality unwittingly
rejected by Emmi, whereas it was unthinkingly embraced by Cary" (Mayne 68). This shot of Cary's
reflection signifies that she is representing an image to her children, and an image associated with
what widows represent, someone whose destiny is seen to be lonely after her husband has died and
prohibited to have another love relationship. Similarly in Ali: Fear Eats the Soul, we see the
television when Emmi's son kicks it after being told about his mother's marriage with Ali. When
Emmi's children are being told the news of their mother's marriage, each of them has a blank facial
expression like "blank television screens. It is this act of vision that captures us in Ali, a vision that
is one step removed from participation in dramatic action, and not yet a vision turned against itself"
(Mayne

Fear Eats The Soul And Black Girl: Film Analysis
Rambod Jafari Rohani
Film 283 – First Essay
Topic #1
03/11/2015
Alienation: Discrimination Eats the Soul If we agree that in each major conflict between two poles
apart cultures, the submissive culture often tries to gain more cultural capital by joining in to the
more powerful culture, while the dominant culture is hesitant to change and tries to prevent them
from achieving that supremacy, then I am positive that a comparison between "Ali: Fear Eats the
Soul" and "Black Girl" underlying themes would help us to understand this relationship better.
Despite the formal and visual dissimilarities between the two movies, "Ali: Fear Eats the Soul"
(1974) and "Black Girl" (1966) are analogous in terms of their core theme: it's not just us against ...
Show more content on Helpwriting.net ...
For instance, the high level of contrast between the black and white colors throughout the movie
seems intentional, signifying the contrast between Diouana and the world around her in France and
the racism that she is experiencing. The relationship between Diouana and Madame is never equal
or friendly. Consequently, almost all the shots that show their interaction consists a high–angle shot
of Diouana and a low–angle shot of Madame; for example, in the scene where Madame tries to
wake her up in bed. Therefore, the audience always sees Madame from the bottom and Diouana
from the top, indicating the dominating view and status of the white imperialist over his African
territory, over his slave. Correspondingly, A. H. Weiler notes "The villains [in 'Black Girl'] appear to
be the changing societies, the native class dominated by poverty and unemployment and the
seeming French apathy toward their former dependents' demand for dignity" (NY Times, 1969). The
hegemony of the superior race and class is more vivid in "Black Girl" compare to "Ali: Fear Eats the
Soul," both in its plot and its framing. However, both movies also share alike interactions between
insiders and outsiders. Neither of the Emmi's family members and landlord, nor the neighbors of the
apartment have

The Marriage Of Maria Norler Analysis
In the article "War Stories: The Search for a Usable Past in the Federal Republic of Germany"
(1995), Robert G. Moeller, a professor of history at the University of California, Irvine, focuses on
the topical question of a treatment of the past by Germans in the post–World War II Germany. The
author argues that to find a single viewpoint as for the Third Reich period is difficult and the "binary
opposition of perpetrator and victim" tends to impact the process of the national self–awareness and
self–identification greatly (1048). This results in an uncertainty of an ethical assessment of the
historical past and, what is more important, demonstration of a selective memory. The purpose of
this paper is to provide interpretation of the 1979 film The Marriage of Maria Braun directed by
Rainer Werner Fassbinder (1945–1982), a West German filmmaker and a representative of the New
German Cinema movement of the 1960s–1980s, taking into consideration the ideas revealed in the
article by Moeller. In this way, the main idea of the essay is that in his film, Fassbinder reflects
Moeller's concept of the selective memory by means of dehumanization of film characters while
showing the historical post–war period of the German Economic Miracle.
The main character of The Marriage is a woman named Maria. At the beginning of the film, she
marries a Wehrmacht officer Hermann Braun in the city of Berlin, which experiences an artillery
shelling by the Red Army right at the process of the wedding.

Can A Social Movement Be Fundamentally Flawed? Essay
Can a social movement be fundamentally flawed? Most people would answer "yes," pointing to
National Socialism or the Ku Klux Klan. However, few would consider the German New Left to
epitomize a flawed social movement. According to history professor Dagmar Herzog, they should.
Throughout her publication Sex After Fascism, Herzog disputes this central argument of the New
Left: "Numerous New Leftists argued directly that sexuality and politics were causally linked;
convinced that sexual repression produced racism and fascism, they proposed that sexual
emancipation would further social and justice" (2). Although the baby boomers equated sex with
anti–fascism, presuming that the Nazis had created the sexually repressive environment, Herzog
argues that the repressive environment was actually established in reaction to National Socialism.
The most homicidal regime in history was more sexually liberal than the New Left conceived (3).
What Herzog overlooks, however, is that not all baby boomers succumbed to this fundamental
misconception, as evidenced by the 1974 feature film Ali: Fear Eats the Soul. Written and directed
by Rainer Werner Fassbinder, the film depicts a romance between Emmy–who's an elderly German
widow–and the title character–who's a Moroccan guest worker. Throughout Ali, Emmy faces
prejudice for being in an interracial relationship, but as film theorist Thomas Wartenberg argues, the
film is far from sympathetic to the elderly widow. In fact, Fassbinder's film

West German Film Ali: Fear Eats The Soul
Germany may have lost its colonies in 1918, but colonial fantasies persisted throughout the Weimar
Republic, National Socialism, and especially the post–fascist era. Colonial fantasies, by which I
mean the desire to form manipulative relationships with people of color, are still present in white
Germans today. The 1974 West German film Ali: Fear Eats the Soul provides unparalleled insight
into the nature and implications of these fantasies. Written and directed by Rainer Werner
Fassbinder, Ali portrays a fictional romance between the title character and Emmy, respectively a
Moroccan guest worker and an older German widow, as well as the prejudice that they face.
Ostensibly, Fassbinder's film could be interpreted as a critique of this all–encompassing ... Show
more content on Helpwriting.net ...
On one hand, propaganda portrayed these occupying soldiers as rapists and monsters, but on the
other hand, white German women fell head over heels for them. Similarly, the Nazis have gone
down in history as ruthless murderers of everybody who didn't belong to the pristine "Aryan race,"
yet African–American athlete Jesse Owens was met with standing ovations at the 1936 Olympic
Games in Berlin. Moreover, the degree to which he is sexualized in Leni Riefenstahl's Olympia is
undeniable. So how can we reconcile Germany's simultaneous hatred and love of black people? The
answer is colonial fantasies. White Germans, once at the top of the colonial hierarchy, were now
powerless due to their defeat in the First World War. They wanted to return to a time of
empowerment, so they kept people of color close to exploit them, bringing life to their collective
memory of colonialism. Specifically, German women were susceptible because they were the most
powerless, plagued by "the dominance and the 'boringness' of White German men" (Partridge 75).
While men could dominate women as a way to feel powerful, women could only dominate people of
color. In that way, racism was a result of

Analysis Of The Movie ' Emmy '
In my interpretation, Emmy has always been corrupted by colonial fantasies, but according to
Wartenberg, the "attraction these two have for one another has nothing to do with the allure of an
exoticized, forbidden Other. Ali and Emmy are simply two people who have managed to open
themselves up to one another in the way we call love." Here, he's referring to the initial attraction
that draws the couple together, which he attributes to their mutual loneliness. To Wartenberg, "they
seem untroubled by the social differences between them," and later in the film, it is Emmy's
possibility of belonging to the dominant group that builds resentment in their relationship. (178). I
see why Wartenberg believes there to be no intrinsic colonial element in their relationship, but this is
a superficial interpretation–as I established before, Emmy can demonstrate affection toward Ali
while possessing the subconscious desire to dominate him. In the scene where Ali visits Emmy's
apartment for the first time, having been invited over for coffee, Emmy reveals her history of
colonial fantasies. Her late husband was a Polish Fremdarbeiter, a forced laborer in Nazi Germany,
and Emmy explicitly points out that he was "not German." Even though his skin color was
presumably the same as Emmy's, Germany treated Poland in a similar way that it treated its
colonies, so Emmy likely viewed him as the colonial inferior. What's more, Emmy admits that she
was a Nazi herself. Of course, one could defend her by

Melodrama and Heaven Allows Essay
Both Rainer Werner Fassbinder and Todd Haynes have drawn on Sirk's film melodramas in their
films. Discuss the differences and similarities between their uses of Sirkian melodrama in their films
Ali: Fear Eats the Soul and Far From Heaven. In developing your analysis you should engage with
theoretical debates about these filmmakers's work and theories of melodrama, and you should
support your analysis through close reading of the films
Douglas Sirk, a Danish–German film director, is best known for being the father of Melodrama. He
is commonly referred to as a master of the weepie (Willemen 1972) and has been an inspiration and
paved the way for other directors to use and adapt his work. One film that has been embraced and
recreated is ... Show more content on Helpwriting.net ...
In this way, audiences are made aware that if it weren't for Cathy losing the scarf, they would have
never embarked on their journey together.
Williams also states that victim–heroes are the focus of melodramas through recognition of the
character's virtue, where the victim's point of view is the main concentration of melodrama. The
protagonist's moral virtue ultimately causes immense suffering, thus causing audiences to empathise
with them (Williams 1998). In Far From Heaven, it is Cathy who is the virtuous individual who
silently suffers to maintain equilibrium within her family and society at large. This is conveyed
throughout the film as each event leads us to Cathy's (the victim) recognition as virtuous through her
suffering (Skvirsky 2008). In the first half of the film, Cathy decides she will do well by her
husband Frank by bringing his dinner to the office as he is working late. Just as she arrives at his
office late at night, Cathy discovers her husband, to her surprise romantically involved with another
man. In the latter part of the film, Frank confronts Cathy. He demands to know whether rumours she
had spent the afternoon with a man of colour, Raymond Deagon are true. Through the course of
these events, Cathy gives up the

Analysis Of Viktor Shklovsky: Art As Technique
Viktor Shklovsky: "Art as Technique" or "Art as Device" Viktor Borisovich Shklovsky (1893–1984)
was one of the founders of the intellectual movement OPOJAZ (Obščestvo izučenija Poètičeskogo
Jazyka), also known as "Society for the Study of Poetic Language". Furthermore, Shklovsky was a
brilliant critic, closely tied to Russian Formalism and he became one of the most noted figures in the
Formalist movement in the early twentieth century; "Shklovsky, Boris Eichenbaum, [Vladimir
Propp], Yary Tynyanov, and other Formalists sought to put literary theory on a par with the natural
sciences" (Davis 51). For one thing, these gentlemen sought to understand art by breaking it down
into parts and identifying the different devices in play, "collections ... Show more content on
Helpwriting.net ...
It was in 1917 that Shklovsky, at an astonishing young age, published his essay "Art as Technique",
or "Art as Device", in which he highlights the concepts of defamiliarization and device, and "argues
against the centrality of "images"" (Davis 51). Moreover, in Shklovsky's essay "Art as Technique"
he addresses the general laws of perception, and states that; "We see that as perception becomes
habitual, it becomes automatic" (Davis 55). By giving examples, Shklovsky tries to explain his
criticism and ideas, additionally he claims that: "The purpose of art is to impart the sensation of
things as they are perceived and not as they are known" (Davis 55). What did the Russian critic
Viktor Shklovsky mean with ostranenie, the Russian word usually translated as defamiliarization,
however literally translated as "making strange". This essay explores Shklovsky's concept of
defamiliarization, furthermore it explores different

Alice In New Germany
Das Neue Kino cannot be characterized by a single ideology or style because the efforts of the
filmmakers of this movement were singular, yet the movement in its own respect expressed a wide
sense of dislocation induced by post–war tendencies of German culture to repress its past. The New
German Cinema movement derives from the Young German Cinema movement, which attempted to
create a new cinema; however, resulted in a failed Germany film that lacked a German audience. It
was the combined efforts of the Oberhausen group and the younger filmmakers of the Authors Film
Publishing Company that would eventually birth the New German Cinema. The literal dislocation
between East and West Germany was a major factor in the suffering of German cinema ... Show
more content on Helpwriting.net ...
In Italy, directors focused on the moral and economic conditions that came with the postwar
generation quickly after the war and addressed the war instead of not acknowledging as German
cinema did for so long. Unlike Alice in the Cities and The Bitter Tears of Petra von Kant, films such
as Bicycle Thieves depicted dislocation during the postwar period in the Neorealist style, made in
1948, this film differs greatly from the two former films discussed. In Bicycle Thieves, Vittorio De
Sica delivers a political message regarding the difficulty of survival in postwar Italy, but also
conveys a sense of psychological dislocation through the character development of Antonio Ricci. In
many ways, Italy's economy is much to blame for Ricci's two–year unemployment in which the film
begins, however, Ricci has as many internal struggles as he does externally. Neorealism lies heavily
on the depiction of real life problems depicting common people and often used people from the
street as actors, in this film the man who played Ricci, Lamberto Maggiorani, actually was a factory
worker, which helps solidify the film's authenticity. Towards the end of Bicycle Thieves, Ricci's
efforts to retrieve his stolen bicycle fail when the people that live near the boy who stole it side with
the epileptic boy as he has a

Rainer Werner Fassbinder’s Atonement with the Nazi Past Essay
Rainer Werner Fassbinder was arguably one of the greatest German directors after World War II.
During his fifteen–year career, Fassbinder directed and produced among his other film works 40
full–length films. Fassbinder was born in a small Bavarian town, Bad Wörishofen, on May 31, 1945,
and died presumably of a drug overdose at the young age of 37 on June 10, 1982. He was the most
prominent German film director, actor and screenwriter in the New German Cinema. He continued
the tradition of great German movies, and dealt with the German Nazi past, the average person's
involvement in the dictatorship and the tendency to suppress the memory of those years after World
War II. The political reality and hard times in the 1920's helped with ... Show more content on
Helpwriting.net ...
Many directors and actors claimed that they were not involved with the Nazi regime and just did
their work in films, such as Leni Riefenstahl who failed to examine her role critically in the Nazi
regime. Some actors had a difficult time to gain employment for a short while, such as Heinz
Rühmann, but he achieved success again, as did many actors who were prosperous in the postwar
years in the mostly German market again ("Heinz Ruehmann"). The movies in the 1950's continued
the tradition of entertainment and many movies were made for pure entertainment of the masses that
wanted to escape their day–to day lives. With the occurrence of the economic miracle in the
Ludwig–Erhard–era, people were busy accumulating wealth yet again and tended to ignore the
recent Nazi past ("It's now Chancellor Erhard"). This premise is what Fassbinder attempted to
explore with his movies, the refusal to deal with the past critically and the concentration on
accumulation of wealth and prosperity, often at the expense of emotional engagement with the
fellow humans. Rainer Werner Fassbinder was born at the end of the war and grew up in the
"Wirtschaftswunder" (=economic miracle) in West Germany's conservative Bavaria. Coming from
the theater, he was an accomplished actor and started to direct his first low budget movie "Love is
Colder than Death" in 1969 (Smith). Rainer Werner Fassbinder's work "includes film and television,
theater, radio plays and essay writing" (Smith).

Essay
The events that transpired following the Second World War left many people with questions of what
was in store for Europe's future. Germany became a house divided, exhibiting shifts in culture
across a border that created the east and the west. Between 1945 and 1960, Germany underwent a
reconstruction influenced in part by the occupation of the Four Powers. West Germany began to
experience long–lasting changes in the state of economic conditions. In lieu of this, 1945 marked a
year in which cinema attendance was dramatically low. Unfortunately, this was not incredibly
surprising immediately following a war that left many without an appetite or time for entertainment.
Though what was surprising was the amazing spike in theatre attendance, ... Show more content on
Helpwriting.net ...
From 1960 to 1970, German film could be characterized as a world of cinematic crisis. This period
of cinema is marked by a decline in theatre attendance and low budgets–needless to say, the
aesthetic quality of film fell to a certain degree. In response to the markedly low attendance theatres
began to experience, many theatres went out of business during this time. Despite this halt in
production, the content of films and series still retained a certain raw and uninhibited appeal
following 1970 (Flinn). Filmmaker Rainer Werner Fassbinder heralded in a new period. His
influences were filmmakers like Raoul Walsh, Luchino Visconti, Max Ophuls, and Michael Curtis.
Prior to 1967, Fassbinder had been rejected from art school and had recently debuted the first of his
original three short films. His turbulent familial relationships contributed largely to his portrayal of
relationships within film as well as his treatment of others. He is characterized as emotionally
manipulative and somewhat callous–– some say that he would play games with his team of actors.
These games were a ploy to test how people would respond in emotionally stressful situations. His
team of actors and actresses consisted mostly of previous or current lovers; they were all familiar to
him and made

Movie Analysis : ' Movie ' Of A Film '
As we moved into the auteur category of films, we went from films having a clear plot, ending, and
meaning, to films having endings, plots, and meanings the audience had to actually sit and think
about to find to find out what exactly the director was trying to portray. This is caused by directors
that are considered auteurs. These directors wanted their viewers to be able to come up with their
own meaning instead of just giving it to them. They want the audience to think as they watch the
movie, instead of sitting there blank. So what is an auteur? An auteur, defined from our book, is a "a
director or other creative intelligence with a recognizable and distinctive style who is considered the
prime 'author' of a film" (Film Analysis 1063). An auteur creates movies as a form of art to portray
what they feel to people. They can portray feelings of politics, love, sexuality and other feelings.
We watched five films created by five different and unique auteurs. The three I am going to talk
about are Alfred Hitchcock, Rainer Werner Fassbinder, and Spike Lee. I think each of these three
directors are auteurs and I am going to give a few examples of how they are. First and foremost, all
three of these directors have styles that are very similar throughout their movies. For Hitchcock's
movies, there seems to always be a suspense theme added to his films. He has a way of making the
audience see or infer what is going to happen and create that feeling of the audience wanting to

The New Germany
Germany immediately after the end of World War II, lay in ruins. The country's infrastructure was in
disarray. Its industry had come to a halt and its economy was ravaged, a completely new state
needed to be built to get Germany back on its feet. In addition, Germany faced cultural instabilities
involving the film industry. Along with everything else German cinema was completely destroyed.
"The international reputation for German cinema was utterly discredited because of the abuse of the
medium for state propaganda and the willful collaboration of a number of German directors, actors
and producers" (Strathausen). The bulk of the films produced in this time period were of poor
quality with no chance of going United States competitor. The German ... Show more content on
Helpwriting.net ...
First, was the state sponsored support program for the production of German films, at this time the
United States had saturated the German film market making it nearly impossible for Germany's film
industry to recover. In 1965, the Board of Trustees for Young German Film was created. They
helped financially support projects of the young filmmakers in hopes of subsidizing and promoting
the film industry. Secondly, "to ensure the proper financing and distribution of its movies, many
representatives of the New German Cinema worked closely with the German TV stations"
(Strathausen). Playing movies on German TV was a strategic move to revamp the industry and get
German films noticed. Thirdly, was the international success and reputation of New German
Cinema, internationally German cinema was "extremely popular and commercially viable"
(Strathausen). Finally, the student protest movement played an important role. Several of the young
filmmakers during this period were part of the student movement. Which resulted in "a series of
both critical and leftist movies about Germany's Nazi past or its uninspiring present"

Ali Fear Ears The Soul Analysis

Recommended

Recommended

More Related Content

Similar to Ali Fear Ears The Soul Analysis

Similar to Ali Fear Ears The Soul Analysis (12)

More from Patricia Viljoen

More from Patricia Viljoen (20)

Recently uploaded

Recently uploaded (20)

Ali Fear Ears The Soul Analysis