By Jaimey Fisher
In the 1st book-length examine on Petzold in English, Jaimey Fisher frames Petzold's cinema on the intersection of overseas paintings cinema and complicated style cinema. This process areas his paintings within the context of world cinema and invitations comparisons to the paintings of administrators like Pedro Almodovar and Rainer Werner Fassbinder, who time and again install and reconfigure style cinema to their very own ends. those accepted features represent a sophisticated gesture in Petzold's paintings as he translates and elaborates on cult style movies and renowned genres, together with horror, movie noir, and melodrama. Fisher explores those renowned genres whereas injecting them with issues like terrorism, globalization, and immigration, significant matters for eu paintings cinema. the amount additionally comprises a longer unique interview with the director approximately his work.
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Additional resources for Christian Petzold
When asked to self-commodify in this way, Franziska misunderstands the rules of this economic game, much as she had with the rapidly shifting economic conditions around her translation company. Seeking some security, she answers with a guaranteed (rather than commissionbased) salary so high that it immediately disqualifies her from the position. Franziska’s second interview subjects her to a camera recording the entire interview (figure 5). In Petzold’s later, better-known films, surveillance-camera footage comes to play an important role (as I shall discuss in The State I Am In, Wolfsburg, and Dreileben: Beats Being Dead), but it is noteworthy that his first usage of it here, in The Sex Figure 5.
But beyond the simultaneity of the past in the present, they indicate the very processes by which the present becomes past. Especially ghosts compel us to ask in an uncanny, non-nostalgic mode: Why does this remain? What happened that it survives in this liminal form? In this way, not only do remnants, remains, and ghosts make the past present for us now, but they also beg the question of why we have come to this particular present—the remnant, remain, or ghost is a melancholic reminder that things could have been different; their very presence queries why we have ended up here and now.
At almost exactly halfway through The Sex Thief and for ten minutes, Petzold offers a series of three interviews that borrow explicitly from Farocki’s The Interview. Franziska’s first interview begins where Farocki’s film concludes: with a fateful question on her salary requirements. When asked to self-commodify in this way, Franziska misunderstands the rules of this economic game, much as she had with the rapidly shifting economic conditions around her translation company. Seeking some security, she answers with a guaranteed (rather than commissionbased) salary so high that it immediately disqualifies her from the position.