{"id":266232,"date":"2023-10-02T00:25:06","date_gmt":"2023-10-01T23:25:06","guid":{"rendered":"https:\/\/theprisma.co.uk\/?p=266232"},"modified":"2023-09-29T03:32:58","modified_gmt":"2023-09-29T02:32:58","slug":"para-que-no-olvidemos","status":"publish","type":"post","link":"https:\/\/theprisma.co.uk\/es\/2023\/10\/02\/para-que-no-olvidemos\/","title":{"rendered":"Para que no olvidemos"},"content":{"rendered":"<p><em>Palabras como provocador, revoltoso, radical vienen f\u00e1cilmente a la mente, pero parecen inadecuadas cuando se habla de Rainer Werner Fassbinder, el hiperprol\u00edfico cineasta cuya prematura muerte en 1982 marc\u00f3 el final de un periodo pol\u00edticamente tumultuoso de la historia alemana.<\/em><\/p>\n<p>&nbsp;<\/p>\n<figure id=\"attachment_266240\" aria-describedby=\"caption-attachment-266240\" style=\"width: 473px\" class=\"wp-caption alignright\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-266240\" src=\"https:\/\/theprisma.co.uk\/wp-content\/uploads\/2023\/10\/Rainer-Werner-Fassbinder.-Photo-from-Festival-de-Cine-Africano-Flickr.-Creative-Commons-License.jpg\" alt=\"\" width=\"473\" height=\"338\" srcset=\"https:\/\/theprisma.co.uk\/wp-content\/uploads\/2023\/10\/Rainer-Werner-Fassbinder.-Photo-from-Festival-de-Cine-Africano-Flickr.-Creative-Commons-License.jpg 1200w, https:\/\/theprisma.co.uk\/wp-content\/uploads\/2023\/10\/Rainer-Werner-Fassbinder.-Photo-from-Festival-de-Cine-Africano-Flickr.-Creative-Commons-License-280x200.jpg 280w, https:\/\/theprisma.co.uk\/wp-content\/uploads\/2023\/10\/Rainer-Werner-Fassbinder.-Photo-from-Festival-de-Cine-Africano-Flickr.-Creative-Commons-License-1024x731.jpg 1024w, https:\/\/theprisma.co.uk\/wp-content\/uploads\/2023\/10\/Rainer-Werner-Fassbinder.-Photo-from-Festival-de-Cine-Africano-Flickr.-Creative-Commons-License-431x308.jpg 431w, https:\/\/theprisma.co.uk\/wp-content\/uploads\/2023\/10\/Rainer-Werner-Fassbinder.-Photo-from-Festival-de-Cine-Africano-Flickr.-Creative-Commons-License-862x616.jpg 862w\" sizes=\"auto, (max-width: 473px) 100vw, 473px\" \/><figcaption id=\"caption-attachment-266240\" class=\"wp-caption-text\">Rainer Werner Fassbinder. Foto de<a href=\"https:\/\/www.flickr.com\/photos\/mcatarifa\/8033074455\"> Festival de Cine Africano \/Flickr<\/a>. Creative <a href=\"https:\/\/creativecommons.org\/licenses\/by-sa\/2.0\/\">Commons License<\/a>.<\/figcaption><\/figure>\n<p><strong><span style=\"color: #003366;\">Sean Sheehan<\/span><\/strong><\/p>\n<p>&nbsp;<\/p>\n<p>Para ser m\u00e1s exactos, la historia de la mitad occidental de la Alemania posterior a la Segunda Guerra Mundial. Los sentimientos liberales se desvanecen cuando se describe lo que ocurri\u00f3 all\u00ed durante la d\u00e9cada de 1970.<br \/>\nCuando Ian Penman se estaba convirtiendo en un periodista musical de moda en el Londres de finales de los setenta, encontr\u00f3 en las pel\u00edculas de Fassbinder una expresi\u00f3n ex\u00f3tica -es decir, no brit\u00e1nica- de la rabia post-punk y la angustia desenfocada que ve\u00eda a su alrededor en Londres.<\/p>\n<p>Era demasiado joven para que la <a href=\"https:\/\/socialhistoryportal.org\/sites\/default\/files\/raf\/1119850000_0.pdf\">Angry Brigade<\/a> se hubiera grabado en su conciencia y no sab\u00eda lo suficiente sobre la <a href=\"https:\/\/theprisma.co.uk\/es\/2020\/10\/12\/necesitamos-hablar-sobre-la-faccion-del-ejercito-rojo\/\">Red Army Faction<\/a> de Alemania Occidental como para sentir el pulso de la pol\u00edtica de Fassbinder.<\/p>\n<p>Pero este pulso se ha convertido en el latido de la Europa contempor\u00e1nea y Fassbinder pod\u00eda sentirlo a su alrededor -vigilancia sistem\u00e1tica, legislaci\u00f3n represiva, violencia estatal- y Penman, echando la vista atr\u00e1s hacia el cineasta que a\u00fan le fascina, reconoce su clarividencia en\u00a0 <em>\u00abLa tercera generaci\u00f3n\u00bb<\/em>.<\/p>\n<p>Cuando se rod\u00f3 esta pel\u00edcula, en 1979, la primera y la segunda oleadas de acci\u00f3n de la RAF hab\u00edan dado paso a lo que Fassbinder consideraba una \u00abpseudoaventura de enfrentarse al sistema\u00bb: Si estos terroristas no existieran, este Estado tendr\u00eda que inventarlos. Quiz\u00e1s ya lo ha hecho\u00bb.<\/p>\n<p><a href=\"https:\/\/fitzcarraldoeditions.com\/books\/fassbinder-thousands-of-mirrors\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-266237 alignleft\" src=\"https:\/\/theprisma.co.uk\/wp-content\/uploads\/2023\/10\/51Zs2L6tS1L._SL1500_.jpg\" alt=\"\" width=\"334\" height=\"511\" srcset=\"https:\/\/theprisma.co.uk\/wp-content\/uploads\/2023\/10\/51Zs2L6tS1L._SL1500_.jpg 982w, https:\/\/theprisma.co.uk\/wp-content\/uploads\/2023\/10\/51Zs2L6tS1L._SL1500_-131x200.jpg 131w, https:\/\/theprisma.co.uk\/wp-content\/uploads\/2023\/10\/51Zs2L6tS1L._SL1500_-670x1024.jpg 670w, https:\/\/theprisma.co.uk\/wp-content\/uploads\/2023\/10\/51Zs2L6tS1L._SL1500_-431x658.jpg 431w, https:\/\/theprisma.co.uk\/wp-content\/uploads\/2023\/10\/51Zs2L6tS1L._SL1500_-862x1317.jpg 862w\" sizes=\"auto, (max-width: 334px) 100vw, 334px\" \/><\/a>Hay una escena esencial en su <em>\u00abAlemania en oto\u00f1o\u00bb<\/em> (1978) en la que se ve a un hombre excavando en busca de la historia alemana, metaf\u00f3rica y literalmente, con una pala en un bosque alem\u00e1n. Fassbinder ataca a la clase media alemana por una aquiescencia que es hist\u00f3ricamente espec\u00edfica. No es la de la generaci\u00f3n de sus padres la que sostuvo el nazismo en los a\u00f1os 30, sino la aquiescencia de los a\u00f1os 60 y 70 que olvidaron voluntariamente lo que hicieron sus padres. Hoy en d\u00eda, por supuesto, la cultura de la memoria de Alemania se presenta como una virtud que averg\u00fcenza a pa\u00edses como Polonia y Ucrania, pero la valorizaci\u00f3n de la cultura de la memoria como un acto nacional de expiaci\u00f3n puede tener un aspecto narcisista y Fassbinder es consciente de ello.<\/p>\n<p>A Fassbinder le habr\u00eda encantado la pel\u00edcula de 2014 <a href=\"https:\/\/en.wikipedia.org\/wiki\/Phoenix_(2014_film)\"><em>\u00abPhoenix\u00bb<\/em><\/a>, por su matizado retrato de la amnesia de la clase media alemana en los a\u00f1os inmediatamente posteriores al final de la Segunda Guerra Mundial y su dulce uso de la canci\u00f3n \u00abSpeak Low\u00bb interpretada por la mujer que sobrevivi\u00f3 al Holocausto.<\/p>\n<p>A Fassbinder le habr\u00eda encantado la pel\u00edcula de 2014 Phoenix, por su matizado retrato de la amnesia de la clase media alemana en los a\u00f1os inmediatamente posteriores al final de la Segunda Guerra Mundial y su dulce uso de la canci\u00f3n \u00abSpeak low\u00bb interpretada por la mujer que sobrevivi\u00f3 al Holocausto.<\/p>\n<p>Fassbinder tambi\u00e9n utiliz\u00f3 la canci\u00f3n con un efecto devastador en su pel\u00edcula de 1982 \u00abVeronika Voss\u00bb, donde \u00abLos recuerdos est\u00e1n hechos de esto\u00bb, cuya letra es enfermiza en el contexto de la Alemania posterior al Holocausto, resume la amnesia autoinducida que se convirti\u00f3 en la droga preferida del pa\u00eds en la d\u00e9cada de 1950.<\/p>\n<figure id=\"attachment_266248\" aria-describedby=\"caption-attachment-266248\" style=\"width: 334px\" class=\"wp-caption alignleft\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-266248\" src=\"https:\/\/theprisma.co.uk\/wp-content\/uploads\/2023\/10\/Fassbinder.-Photo-by-Gary-Norris-Flockr.-Creative-Commons-License.jpg\" alt=\"\" width=\"334\" height=\"293\" srcset=\"https:\/\/theprisma.co.uk\/wp-content\/uploads\/2023\/10\/Fassbinder.-Photo-by-Gary-Norris-Flockr.-Creative-Commons-License.jpg 479w, https:\/\/theprisma.co.uk\/wp-content\/uploads\/2023\/10\/Fassbinder.-Photo-by-Gary-Norris-Flockr.-Creative-Commons-License-228x200.jpg 228w, https:\/\/theprisma.co.uk\/wp-content\/uploads\/2023\/10\/Fassbinder.-Photo-by-Gary-Norris-Flockr.-Creative-Commons-License-431x378.jpg 431w\" sizes=\"auto, (max-width: 334px) 100vw, 334px\" \/><figcaption id=\"caption-attachment-266248\" class=\"wp-caption-text\">Fassbinder. Foto de<a href=\"https:\/\/www.flickr.com\/photos\/dagzine\/1857299089\/\"> Gary Norris \/Flickr<\/a>.\u00a0 Creative<a href=\"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/2.0\/\"> Commons License<\/a>.<\/figcaption><\/figure>\n<p>El libro de Penman sobre el cineasta est\u00e1 escrito con br\u00edo, mezclando lo anecd\u00f3tico con lo autobiogr\u00e1fico, y comparte parte de la energ\u00eda cin\u00e9tica que caracteriza a las pel\u00edculas sobre las que reflexiona.<\/p>\n<p>Lo mejor de todo es que ayuda a rescatar a Fassbinder de la relativa oscuridad que no merece.<\/p>\n<p><em>\u00abFassbinder: Miles de espejos\u00bb<\/em>, de Ian Penman, ha sido publicado por <a href=\"https:\/\/fitzcarraldoeditions.com\/books\/fassbinder-thousands-of-mirrors\">Fitzcarraldo Editions<\/a>.<\/p>\n<div class=\"twttr_buttons\"><div class=\"twttr_twitter\">\n\t\t\t\t\t<a href=\"http:\/\/twitter.com\/share?text=Para+que+no+olvidemos\" class=\"twitter-share-button\" data-via=\"\" data-hashtags=\"\"  data-size=\"default\" data-url=\"https:\/\/theprisma.co.uk\/es\/2023\/10\/02\/para-que-no-olvidemos\/\" data-dnt=\"true\" data-related=\"\" target=\"_blank\">Tweet<\/a>\n\t\t\t\t<\/div><\/div>","protected":false},"excerpt":{"rendered":"<p>Palabras como provocador, revoltoso, radical vienen f\u00e1cilmente a la mente, pero parecen inadecuadas cuando se habla de Rainer Werner Fassbinder, el hiperprol\u00edfico cineasta cuya prematura muerte en 1982 marc\u00f3 el final de un periodo pol\u00edticamente tumultuoso de la historia alemana. &nbsp; Sean Sheehan &nbsp; Para ser m\u00e1s exactos, la historia [&hellip;]<\/p>\n","protected":false},"author":9,"featured_media":266243,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[24,14,7,26],"tags":[],"class_list":["post-266232","post","type-post","status-publish","format-standard","has-post-thumbnail","category-cultura","category-en-foco","category-opinion","category-paginas"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.6 - 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