1. Rainer Werner Fassbinder: The Marriage of Maria Braun | Movies
Bevat niet: (1979) | Resultaten tonen met:(1979)
Just as it would be impossible to ignore the French New Wave in any list of the 100 best films, one must acknowledge the many extraordinary works of the New German Cinema which succeeded it, carrying the flag of European film-making throughout the world.
2. THE MARRIAGE OF MARIA BRAUN/ Die Ehe der ... - First Impressions
5 mei 2023 · If the film is about Maria, it's also about marriage: THE MARRIAGE OF MARIA BRAUN. Maria fervently believes in it. There's that wonderful ...
The personal is always related to the social in Fassbinder’s work. With THE MARRIAGE OF MARIA BRAUN, the personal and the social are also interlinked to the historical. The film has been read as an…
3. The Marriage of Maria Braun (1978) - True Myth Media
8 nov 2019 · Shortly after the end of World War II, a newly married woman in post-war Germany struggles to survive without her husband.
Shortly after the end of World War II, a newly married woman in post-war Germany struggles to survive without her husband.
4. The Marriage of Maria Braun (1979); Directed by Rainer Werner ...
14 nov 2013 · Yes, it is also a vicious satire about German re-growth after World War II, its economic rejuvenation, the miracle of West Germany, which ...
5. The Marriage of Maria Braun (1979) | In a Year with 44 Films
7 okt 2013 · It's a German film about a specific period in German history told from a German perspective—an unlikely candidate in nearly every way for this ...
This is the one, right? This is the movie that put Fassbinder squarely in the pantheon of great directors (as opposed to that much smaller clubhouse for New German Cinema directors), the first of h…
6. The mind of the married woman movie review (1979) - Roger Ebert
24 apr 2005 · Bombs fell as Maria was married to a soldier named Hermann Braun, with the wedding party scrambling for safety. Then came more years of the war.
Bombs fell as Maria was married to a soldier named Hermann Braun, with the wedding party scrambling for safety. Then came more years of the war. Whatever
7. MARRIAGE OF MARIA BRAUN, THE - Dennis Schwartz Movie Reviews
5 aug 2019 · The film opens when Maria (Schygulla) marries Hermann Braun (Löwitsch) in 1943 amid an allied bombing raid, during her soldier-husband's 48 hour furlough ...
MARRIAGE OF MARIA BRAUN, THE (DIE EHE der MARIA BRAUN)
8. Rainer Werner Fassbinder: The Marriage of Maria Braun (1979)
The Marriage of Maria Braun was the first installment of what Fassbinder later called the BRD Trilogy (BRD being the acronym for Bundesrepublik Deutschland: the ...
Fassbinder was one of the central figures of the so-called New German Cinema (Neuer Deutscher Film), which was a response of young filmmakers in the 1960s against what they perceived as the moral hypocrisy, political cowardice and artistic stagnation of postwar German film. Other members of this movement included Werner Herzog, Wim Wenders, Alexander Kluge and Hans-Jürgen Syberberg. Fassbinder’s artistic career started around 1967, when he joined the aesthetically and politically radical theatre group Aktionstheater – “theatre of action(s)”’ – in Munich. Already two years later he wrote and directed his first feature-length film, Love Is Colder Than Death. In a nutshell, Fassbinder’s films combine the Hollywood melodrama of filmmaker Douglas Sirk (originally Detlev Sirk) with the Marxist aesthetics of German playwright Bertolt Brecht. Most of Fassbinder’s films attack German postwar complacency, the daily fascism of the petit bourgeoisie, and the hypocritical liberalism of the middle and upper classes. Many of his protagonists are social outsiders: disenfranchised youth, male hookers, transsexuals, even a cleaning woman in her 50s falling in love with a North African guest worker. Also, there are no happy endings in Fassbinder’s world. When Fassbinder died in 1982, at the age of 37, from a lethal mixture of cocaine and sleeping pills, he had completed 40 feature-length films and two television series, in addition to 24 stage plays and 4 radio plays. With Fassbinder’s death, G...
9. Die Ehe Der Maria Braun: Reconstructions of the Public and ...
24 jul 2011 · Aside from primarily being a political allegory for Germany, The Marriage of Maria Braun ultimately tells the story of a young woman caught in ...
Set in a country which has seen its worst defeat following its unconditional surrender at the close of the Second World War, The Marriage ...
10. The Marriage of Maria Braun | Rotten Tomatoes
Near the end of World War II, Maria (Hanna Schygulla) marries Hermann (Klaus Lowitsch), who is immediately sent off to battle.
Near the end of World War II, Maria (Hanna Schygulla) marries Hermann (Klaus Lowitsch), who is immediately sent off to battle. When the war concludes, Maria believes that Hermann is dead. She starts working at an Allied bar, where she meets American soldier Bill (George Byrd). They start a relationship that is interrupted when Hermann returns alive. During a scuffle between the men, Maria accidentally kills Bill. Hermann takes the blame and goes to jail, while Maria begins a hard new life.
11. The Marriage of Maria Braun (Die Ehe der Maria Braun, 1979) - De Gruyter
The Marriage of Maria Braun (Die Ehe der Maria Braun, 1979) was published in Lexicon of Global Melodrama on page 163.
12. A Film and its Era: The Mariage of Maria Braun (Reiner W. Fassbinder)
Bevat niet: true | Resultaten tonen met:true
Rainer Werner Fassbinder shot Maria Braun's wedding in 1979.
13. Rainer Werner Fassbinder, The Marriage of Maria Braun / Die Ehe ...
The Marriage of Maria Braun was his most successful film in terms of box office, and it put him on the international circuit of festivals and awards—and ...
Norman Holland on Fassbinder's The Marriage of Maria Braun
14. Geen titel
"History, Fiction, Memory: Fassbinder's The Marriage of Maria Braun (1979)" German Film and Literature: Adaptations and Transformations Eric Rentschler ed.
Maria's assertation is an example of her desire to break with the traditions of her forefathers and to abandon the legacy of the Nazi era in favour of adopting the perceived values of the victors of the second World War, especially those concerning male / female relationships, and economics. In this sense, Maria can be seen as a symbol for Germans after World War II. According to Robert G. Moeller, In debates over social policies, concerns over relations between women and men, the future of the family, and women's social and political status were at centre stage...West Germans sought to reconstitute the social order after the shock and trauma of National Socialism and defeat in war...West Germans viewed a careful evaluation of gender relations and a distinct break with the ideology of Kinder, Küche, Kirche as essential parts of a general commitment to change in the aftermath of fascism. (137)
