On the notion of the political in postmarxist theory.
05.10.2010
Politics, poetics and popular education in Brazilian cinema
'Stronger are the powers of the people' III
04.10.2010
Politics, poetics and popular education in Brazilian cinema
'Stronger are the powers of the people' II
04.03.2010
Fassbinder's own private Nietzsche
Satan's brew
04.02.2010
A comme animal
Abécédaire
01.09.2009
Portray of a precarious survival
Screening Dardenne's Rosetta
09.04.2009
Screening of a film by Claire Denis
The Intruder
06.05.2008
The cool despair of young creatives. Discussion with the filmmaker S. Geene
After effect
06.03.2008
Screening + Discussion with the filmmaker Angela Melitopoulos
The cell - Toni Negri and the prison
04.03.2008
Happiness (1934) by Aleksandr Medvedkin + Cine-Train excerpts (Medvedkin and others)
The body of the worker as paradoxical machine and teaching aid
08.02.2008
Workers' autonomy in the Veneto in the 1960s and 70s
Porto Marghera: the last firebrands
05.02.2008
Politics of montage
Kuhle Wampe
06.12.2007
Video seminar with S. Dillemuth
A visual genealogy of bohemia
05.12.2007
Remembering Fassbinder
Politics of Bohemia
04.12.2007
Adam Curtis' documentary on consumerist subjectivity
The century of the self
30.06.2007
A selection of movies presented by Tsila Hassine
The Israeli-Palestinian conflict
30.05.2007
A movie by Peter Watkins
La Commune. Paris 1871 Part II
29.05.2007
A movie by Peter Watkins
La Commune. Paris 1871 Part I
08.03.2007
Winterbottom and Whitecross's image of exception
Road to Guantanamo
Satan's brew, D 1976, 107 min, directed by Rainer Werner Fassbinder, starring Kurt Raab (Walter Kranz), Margit Carstensen (Andrée), Helen Vita (Luise Kranz), Volker Spengler (Ernst Kranz), Ingrid Caven (Lilly), Marquard Bohm (Rolf, Lilly's husband), Y Sa Lo (Lana von Meyerbeer), Ulli Lommel (Lauf, policeman), Armin Meier (hustler), Katharina Buchhammer (Irmgart von Witzleben)
In the one and only comedy, Fassbinder ever shot, he parodied the Nietzschean imagination of a life understood as expression of a selective will to power. Kurt Raab enacts a former left-wing poet who - while his success decays - in a sudden and splendid intuition imagines to be a reincarnation of Stefan George. With rigorous consequence, he proves how wonderfully ridiculous the impersonation of the will to power by a yes-saying, self-affirmative artist can turn out to be. Sentimentality, authoritarianism, and molecular fascism are the limit-affections of this persona.