The Gay Liberation of Rainer Werner Fassbinder

I want to address the subject of Fassbinder's gayness, particularly in relation to his male lovers, because I was struck while visiting the monumental Fassbinder exhibit in Berlin in the summer of 1992 by how thoroughly that gayness, which contributed so much to both his sense of marginalization and his confrontational, radical, and utopian stances, was erased. On one level, this effacement is understandable. After Fassbinder's death, focus shifted away from the films to Fassbinder's life. In a series of books,1 some deliberately angry and scandalous like Kurt Raab's, others well-intentioned but often nevertheless fascinated with Fassbinder's unusual lifestyle and his control of his actors, Fassbinder emerged as a gay sometimes bisexual psychological terrorist and sadist, self-destructive and destructive of the lives

Art · Epistemology · Psychoanalysis · Sociology · Subjectivity · Art, Aesthetics, and Perception · Art, Politics, and Modernism · Gender Studies · Philosophy · Psychology · Visual Culture and Art Theory

• Emancypacja, reprezentacja, cenzura

  Open Access•Grzegorz Niziołek•Teksty Drugie•2023

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