The artistic style of fear devouring the soul

Among many films in fassbinder, "Angst essen Seele auf" took only two weeks to shoot. The original intention was to try the film-making skills for Martha and Effi Briest. These were all to be filmed later, but it never occurred to me that this film became another masterpiece of fassbinder.

Fassbinder used a series of pages to show the embarrassment of foreign love, and showed the discrimination of German people against foreign workers after the war. He lost no time to express the indifference of onlookers to the couple with close-up facial expressions, which produced a stronger picture than abuse.

He also continued the style of alienation, deliberately leaving a silent pause between the shots, so as to create the inequality between the film and reality in time measurement, make the audience feel depressed and uncomfortable, and exaggerate the psychological effect brought by alienation.

The image of the mirror also appears repeatedly in the film. Not only in this film, but also in most of fassbinder's films, he often captures the characters in the mirror with his camera, thus causing the dislocation between space and reality and increasing the artistic conception of alienation. It can even be said that through the prop of the mirror, the characters in fassbinder's films are separated from themselves, not to mention between people.

However, in fassbinder's films, the relationship between people is always fragile, which leads to alienation, and at the same time makes the characters wander forever in betrayal and deception. Ali, who is simple and straightforward, abandoned Amy and slept with another woman even though her smile was as warm as the sun. Fassbinder intends to lengthen the naked scene of men and women during the affair and bring it into the doorframe to form a complete composition, just like Amy and Ali were eating steak during their last visit to Italy, forming a sharp contrast and expressing silent ridicule.

Fassbinder's attitude towards male symbols is unusually calm. In his movies, I don't see much passion for physical fighting, but he is by no means a kind person. He is willing to create naked opportunities for the men in the play, and the lens sweeps in the male symbols without modification. Perhaps because of his bisexual identity, fassbinder is not as good at men's bodies as pasolini, who is gay-he pursues the beauty of naturalism, and he will never directly take a close-up of his penis to show his admiration for men. In similar scenes in fassbinder, his attitude is always ambiguous.

Fassbinder is almost playing with his actors. He often knew that actors wanted a certain role, but in the end he deliberately let them down. This is especially true for the characters in movies. On the one hand, fassbinder plays the role of creator, creating various dramatic tragedies for the characters in the film; On the other hand, he sometimes makes a guest appearance in the film, participates in the life of the world as a passer-by, appreciates his masterpieces, and finally understands everything by death.

In the movie "Fear Swallows the Soul", fassbinder made corresponding adjustments to the characters' identities and plot settings in the original work. This is not to distinguish it from Sek movies, but is determined by fassbinder's personal expression of national needs.