The marriage of Maria Braun:
"A new reading of Fassbinder's most popular film that highlights the thus-far neglected role of race, showing that in addition to being subject to gender discrimination, Maria is also complicit in racism and white patriarchy. The Marriage of Maria Braun is the most popular film by the enfa...
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Rochester, NY
Camden House
2024
|
| Schriftenreihe: | German film classics
|
| Schlagworte: | |
| Zusammenfassung: | "A new reading of Fassbinder's most popular film that highlights the thus-far neglected role of race, showing that in addition to being subject to gender discrimination, Maria is also complicit in racism and white patriarchy. The Marriage of Maria Braun is the most popular film by the enfant terrible director Rainer Werner Fassbinder, the leading exponent of the "New German Cinema" of the early sixties to early eighties. It exemplifies his use and abuse of the genre of melodrama. Set in the immediate postwar period and centered around a strong female protagonist, Maria Braun (1978) was the first film in a trilogy that attempts to work through West Germany's fraught past and the legacy of Nazi Germany through the eyes of characters marginalized by their gender, race, sexuality, or (dis)ability. Maria attempts to navigate the poverty and sexism of the immediate postwar years by making her relationships with men as beneficial as possible. In the end, she discovers she has been a pawn in a power game between her husband, long thought killed on the Eastern Front, and her long-time lover Bill, an African-American GI. Yet Maria is also complicit in racism and white patriarchy, a fact that scholarship on the film has barely registered. In her new reading, Priscilla Layne draws on archival research, Critical Race Theory, Black Feminist Thought, and Critical Whiteness Studies to expand on the role of race and gender in the film." |
| Beschreibung: | 121 Seiten Illustrationen 20 cm |
| ISBN: | 9781571135049 |
Internformat
MARC
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|---|---|---|---|
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| 007 | t| | ||
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| 020 | |a 9781571135049 |c Paperback |9 978-1-57113-504-9 | ||
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| 084 | |a 803000 Fassbinder, Rainer Werner*by*ob*sc |2 sbb | ||
| 100 | 1 | |a Layne, Priscilla |d 1981- |e Verfasser |0 (DE-588)1036929957 |4 aut | |
| 245 | 1 | 0 | |a The marriage of Maria Braun |c Priscilla Layne |
| 264 | 1 | |a Rochester, NY |b Camden House |c 2024 | |
| 300 | |a 121 Seiten |b Illustrationen |c 20 cm | ||
| 336 | |b txt |2 rdacontent | ||
| 337 | |b n |2 rdamedia | ||
| 338 | |b nc |2 rdacarrier | ||
| 490 | 0 | |a German film classics | |
| 505 | 8 | |a Rising from the ashes -- Race and gender in postwar German society -- An explosive beginning -- Milking melodrama -- Drama in black and white -- Love stories set in a war zone -- Undermining melodrama -- Fassbinder's style -- Music -- A war widow? -- Coca cola-nization -- Intersectionality -- The melodrama of race -- Economic wonderwoman -- An explosive ending -- Afterlife on the stage | |
| 520 | 3 | |a "A new reading of Fassbinder's most popular film that highlights the thus-far neglected role of race, showing that in addition to being subject to gender discrimination, Maria is also complicit in racism and white patriarchy. The Marriage of Maria Braun is the most popular film by the enfant terrible director Rainer Werner Fassbinder, the leading exponent of the "New German Cinema" of the early sixties to early eighties. It exemplifies his use and abuse of the genre of melodrama. Set in the immediate postwar period and centered around a strong female protagonist, Maria Braun (1978) was the first film in a trilogy that attempts to work through West Germany's fraught past and the legacy of Nazi Germany through the eyes of characters marginalized by their gender, race, sexuality, or (dis)ability. Maria attempts to navigate the poverty and sexism of the immediate postwar years by making her relationships with men as beneficial as possible. In the end, she discovers she has been a pawn in a power game between her husband, long thought killed on the Eastern Front, and her long-time lover Bill, an African-American GI. Yet Maria is also complicit in racism and white patriarchy, a fact that scholarship on the film has barely registered. In her new reading, Priscilla Layne draws on archival research, Critical Race Theory, Black Feminist Thought, and Critical Whiteness Studies to expand on the role of race and gender in the film." | |
| 630 | 0 | 7 | |a Die Ehe der Maria Braun |0 (DE-588)4149669-3 |2 gnd |9 rswk-swf |
| 653 | |a Ehe der Maria Braun (Motion picture) | ||
| 653 | 1 | |a Fassbinder, Rainer Werner / 1945-1982 / Criticism and interpretation | |
| 653 | 0 | |a Race in motion pictures | |
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| 653 | 0 | |a Motion pictures / Germany (West) / History | |
| 653 | 0 | |a Race au cinéma | |
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| 943 | 1 | |a oai:aleph.bib-bvb.de:BVB01-035278330 | |
Datensatz im Suchindex
| _version_ | 1820700848908402688 |
|---|---|
| adam_text | |
| any_adam_object | |
| author | Layne, Priscilla 1981- |
| author_GND | (DE-588)1036929957 |
| author_facet | Layne, Priscilla 1981- |
| author_role | aut |
| author_sort | Layne, Priscilla 1981- |
| author_variant | p l pl |
| building | Verbundindex |
| bvnumber | BV049940087 |
| contents | Rising from the ashes -- Race and gender in postwar German society -- An explosive beginning -- Milking melodrama -- Drama in black and white -- Love stories set in a war zone -- Undermining melodrama -- Fassbinder's style -- Music -- A war widow? -- Coca cola-nization -- Intersectionality -- The melodrama of race -- Economic wonderwoman -- An explosive ending -- Afterlife on the stage |
| ctrlnum | (DE-599)BVBBV049940087 |
| format | Book |
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| id | DE-604.BV049940087 |
| illustrated | Illustrated |
| indexdate | 2025-01-08T17:00:37Z |
| institution | BVB |
| isbn | 9781571135049 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-035278330 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 121 Seiten Illustrationen 20 cm |
| psigel | BSB_NED_20241220 |
| publishDate | 2024 |
| publishDateSearch | 2024 |
| publishDateSort | 2024 |
| publisher | Camden House |
| record_format | marc |
| series2 | German film classics |
| spelling | Layne, Priscilla 1981- Verfasser (DE-588)1036929957 aut The marriage of Maria Braun Priscilla Layne Rochester, NY Camden House 2024 121 Seiten Illustrationen 20 cm txt rdacontent n rdamedia nc rdacarrier German film classics Rising from the ashes -- Race and gender in postwar German society -- An explosive beginning -- Milking melodrama -- Drama in black and white -- Love stories set in a war zone -- Undermining melodrama -- Fassbinder's style -- Music -- A war widow? -- Coca cola-nization -- Intersectionality -- The melodrama of race -- Economic wonderwoman -- An explosive ending -- Afterlife on the stage "A new reading of Fassbinder's most popular film that highlights the thus-far neglected role of race, showing that in addition to being subject to gender discrimination, Maria is also complicit in racism and white patriarchy. The Marriage of Maria Braun is the most popular film by the enfant terrible director Rainer Werner Fassbinder, the leading exponent of the "New German Cinema" of the early sixties to early eighties. It exemplifies his use and abuse of the genre of melodrama. Set in the immediate postwar period and centered around a strong female protagonist, Maria Braun (1978) was the first film in a trilogy that attempts to work through West Germany's fraught past and the legacy of Nazi Germany through the eyes of characters marginalized by their gender, race, sexuality, or (dis)ability. Maria attempts to navigate the poverty and sexism of the immediate postwar years by making her relationships with men as beneficial as possible. In the end, she discovers she has been a pawn in a power game between her husband, long thought killed on the Eastern Front, and her long-time lover Bill, an African-American GI. Yet Maria is also complicit in racism and white patriarchy, a fact that scholarship on the film has barely registered. In her new reading, Priscilla Layne draws on archival research, Critical Race Theory, Black Feminist Thought, and Critical Whiteness Studies to expand on the role of race and gender in the film." Die Ehe der Maria Braun (DE-588)4149669-3 gnd rswk-swf Ehe der Maria Braun (Motion picture) Fassbinder, Rainer Werner / 1945-1982 / Criticism and interpretation Race in motion pictures Germany (West) / In motion pictures Motion pictures / Germany (West) / History Race au cinéma Die Ehe der Maria Braun (DE-588)4149669-3 u DE-604 Erscheint auch als Online-Ausgabe 978-1-78744-670-0 |
| spellingShingle | Layne, Priscilla 1981- The marriage of Maria Braun Rising from the ashes -- Race and gender in postwar German society -- An explosive beginning -- Milking melodrama -- Drama in black and white -- Love stories set in a war zone -- Undermining melodrama -- Fassbinder's style -- Music -- A war widow? -- Coca cola-nization -- Intersectionality -- The melodrama of race -- Economic wonderwoman -- An explosive ending -- Afterlife on the stage Die Ehe der Maria Braun (DE-588)4149669-3 gnd |
| subject_GND | (DE-588)4149669-3 |
| title | The marriage of Maria Braun |
| title_auth | The marriage of Maria Braun |
| title_exact_search | The marriage of Maria Braun |
| title_full | The marriage of Maria Braun Priscilla Layne |
| title_fullStr | The marriage of Maria Braun Priscilla Layne |
| title_full_unstemmed | The marriage of Maria Braun Priscilla Layne |
| title_short | The marriage of Maria Braun |
| title_sort | the marriage of maria braun |
| topic | Die Ehe der Maria Braun (DE-588)4149669-3 gnd |
| topic_facet | Die Ehe der Maria Braun |
| work_keys_str_mv | AT laynepriscilla themarriageofmariabraun |