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Die Auslander: ¿Quién es el extranjero, el foráneo, el otro? Es ella - polca, pero oprlal edad. Es él,. marroquí en Alemania. La mirada: Primera escena - congelkados, listos para emjuicicar, ella es vista al fondo, en uputio de fuga del cuadro. Enmaracad, toda la atención se dirige con ytencoón diagonal a ella. Alegoría visual de lo que trata de la película. ç lAs vrcians de lla, por la puerta, escaleras, de arriba a abao y de abajo a arriba ñ- jucicio- Verfremdungseffekt or alienation effect of Epic Theatre into his cinema. acerca el drmaa social, el conetxto, análisis de la represnetaciómn TEatro Épico de Bertold Brecht: Este sentido de distanciamiento es dado por la actuación y dramaturgia , no por cámara. Los lanos más bien sn estáticos: “The technical possibilities which the camera offers only destroy a clear dramaturgy and spoil the clarity of a film,” Fassbinder said in a 1969 interview with Christoph Knebusch. n the tradition of Epic Theatre, all characters in Fassbinder are essential because the films are not merely about the lives of the lead character is as though Fassbinder is suggesting to us, and possibly he is correct, that perhaps all relationships should be structured like Brechtian theatre. s, but are commentary on society as a whole. racism and ageism As many know, this story sprung from the director’s own experience in his relationship with El Hedi ben Salem, who would tragically end his own life in prison in the wake of his failed relationship with Fassbinder. The racism shown in the film was encountered by the couple, but the gay relationship was in Ali replaced by an intergenerational one no less scorned and mocked by society. e actors’ faces are frozen, and it is not only their individual expressions but how each seems to work in accordance with the whole that is so very striking—in what Brecht termed gest or gestus, not simply individual gesture, but the communal gestures and attitudes conveyed by the troupe as a whole. cross-ethnic worker solidarity, polaizaiñon moralista bueno y malo (SIRK) comoplejo : él en gaña, no es voivyima ella es enjucidia pero admite haver sido parte del nazismo The key formal elements of melodrama (restrained non-verbal storytelling, using mise en scène for framing purposes and the telling of socially and politically relevant stories) are showcased in both films in different ways. https://www.filminquiry.com/melodrama-remake-fassbinder/

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TIM CURRY:

1976 - The Rocky Pciture Horrror Show personaje Dr. Frank N. Furter,

1985 - Leyenda, Ridlye Scott, El señor de las tiniewblas

1990- IT, payaso Pennywise

1998 -LA reunión de los Locos Adams, Gómez Adams

VOZ del emperador en - "Star Wars: La Guerra de los Clones"

Infarto - solo narrador - Remake en vez del detetcive

4 músicos para teatros

orequesta para opelicula

ajustaron el timbre para las vices de Susan Sarandon, Barry Bostwick y Meatloaf.

I

Jim Sharman was born in Sydney, the son of boxing tent impresario He was educated in Sydney, though his upbringing included time spent on Australian showgrounds, where his father ran a travelling sideshow of popular legend, founded by his own father, called "Jimmy Sharman's Boxing Troupe".[3] This brought him into contact with the world of circus and travelling vaudeville.

DENTIDAS SEXUAL FLUIDA

LO BINARTIO NO ES SUFCIENTE

O BRIEN - SI HIBIERA SIFDO MUJER

“What I’ve always wanted to be was whole — centrally whole and complete,” “But I have so much girl in me it doesn’t make any sense. I think it would have made more sense had I been born a girl. That’s true. But it is a patriarchic, misogynistic fucking world. So aren’t I lucky? Because I’ve been able to walk down streets and go places that I wouldn’t ever have been able to go down had I been a girl. You just have to put everything in perspective, really.

However he dislikes sexual labels and refuses to refer to himself as straight, gay, or bi. At a 2007 charity auction, he declared that "I have slept with 300 women, 30 or 40 men and around 12 transsexuals".

richard o brien

COMICS, SICNEIA FICCÓN, POELÑ´CULAS B

Obra de teatro, la dirige Jim Sharman

QUéia ser ocky, Fue a un gmnasio a buscar a rocky y se topa copm Tim Cyurrty,

Richard O’Brien has revealed that the inspiration for  Dr. Frank N. Furter, was inspired by his own experiences cross-dressing and grappling with his gender identity as a young aspiring actor from New Zealand living in London in the early 1970s.

O’Brien, 81, has been married three times, to three different women, and has three children from the first two marriages — two sons and a daughter. When it comes to his own gender identity, however, he says no binary answer is sufficient.

Barry Bostwick "Brad Majors"

Susan Sarandon - Had her breakout role in “Rocky Horror” as Janet Weiss, the wholesome young woman who discovers her wild side.

Susan Sarandon _ in The Rocky Horror Picture Show, challenged traditional gender norms and embraced sexuality as a form of empowerment. Sarandon advocates for open, non-judgmental conversations about sexuality and supports empowering women to make their own choices.

MEat LOaf

Meat Loaf landed the onscreen role of delivery boy/brain donor Eddie after he played the part in the Broadway production.

B -Movie Cult film references

. FRANKENSTEIN (1931)

DOCtor X .- 1932 .- primera película de horrro en color

El Hombre invisible,. basada en novela de HG Wells, Dir,. James Whale, esfectso especiales el set y cámara

THE BRIDE OF FRANKENSTEIN (1935) - Magenta rocks a zany new hairstyle for Rocky Horror’s thrilling climax. Her arresting coiffure was more or less directly lifted from The Bride of Frankenstein. In this spectacular sequel, the title character dons a streaky, upright hairdo that was modeled after a famous bust of Nefertiti, an ancient Egyptian queen.

THE DAY THE EARTH STOOD STILL (1951) - “Science Fiction/Double Feature” acknowledges one of the most topical films of 1951. Once the Cold War arrived, sci-fi movies began to grow more overtly political. In The Day the Earth Stood Still, a benevolent alien named Klaatu (played by Michael Rennie) warns the human race that its increasing usage of nuclear weapons has made other planets nervous enough to consider wiping out all life on Earth in a preemptive strike

The Night of the Hunter  - Los tatuajes de Ediie - love an dHate

TARANTULA (1955) -mencionadas en los labios

IT CAME FROM OUTER SPACE (1953) - también la menciona los labios

WHEN WORLDS COLLIDE (1951) -la canción de los labios menciona uan frase el oproductor de pelñuclas de sci fi

KING KING 1932 - ; los labios cantan sobre KIng King, el vestido de la actriz al final. Rocky himself climbing up a model radio tower, RKO’s logo, before falling to his death. 

The Rise and Fall of Ziggy Stardust and the Spiders from Mars (often shortened to Ziggy Stardus

is the fifth studio album by the English musician David Bowie, released on 16 June 1972

loose concept album and rock opera, Ziggy Stardust focuses on Bowie's titular alter ego Ziggy Stardust, a fictional androgynous and bisexual rock star who is sent to Earth as a saviour before an impending apocalyptic disaster.

”4 musicos

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Debbie Harry

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DEBBIE HARRY as Nicki VIDEODROME (1983)

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WIDSCREEN

Realismo, elementos van a apareciendo en cuadro.

Lentes larghos para primeros planos.

Compare con : Th Favotite / Yorgos Lantimos, tambiñen toene close upos, 35mm y aklgo de 6mm

Compare : Diana , Pablo Larraín ,

NO STORYBOARD!

I never use storyboards. I always like to come on the set and see the reality around me. Then I rehearse with the actors in the space, which is already finalized by the prop man, set decorator, set designer and costume designer. Only then do I decide how to cover the scene. Here, I wanted to show what the father has to deal with. Now Mozart has got himself in the fun of getting the mask and costumes. But it’s a little sinister. That’s why I put the camera a little lower, so we look from down to up.

CISTUME DESIGN - Theodor Pistek

These masks were created by costume designer . He manufactured them individually for each of the characters so that they could breathe, act and behave not as actors but as human beings.

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Lograron filmar en la Vienna State Opera House. A esta locación se regresa a lo largo de la hiostoria, cada vez se represneta más oscura , más claroscuros, comforme en la memoria de Salieri se profundiza su amargor.

Velas iluminan el lugar

Working on location in Prague, Tharp choreographed and directed the opera sequences for the film. The sequences were created for a contemporary audience and are not exact reconstructions of eighteenth century dances. The operas included in the film are: The Marriage Of Figaro, Abduction From The Seraglio, The Magic Flute and Don Giovanni.

She made three movies with Milos Forman —

 Hair, with its hippie style

Ragtime, set in the early 20th century,

Amadeus.

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Salieri -

Interpretado por F. Murray Abraham

Siempre representado en su hogar rodeado de madera , nunca llega a estar a la altura de Mozart, se diferencia de él y del ambiente suntuoso.

Aislado por su envidia. Madera es terrenal.

COntrario a la visión idealizada de Mozart, luminoso y celestial, inalcanzable.

Escaso maquillaje.

"Music, even in situations of the greatest horror, should never be painful to the ear but should flatter and charm it, and thereby always remain music."

- Wolfgang Amadeus Mozart

Amadeus (1984) dir. Milos Forman

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Dir Arte: Patrizia von Brandenstein

SIlkwood

MAn on the Moon

El mundo versus Larry Flint

Goya's Ghosts

A Chorus Line

Postcards ffom the Edg

Uso del color para crear profundidad en escenas grabdes

Filmaron en el teatro donde se estrenó Don Giovanni

Baño de luz lechosa empalidece colores salvo acentos.

Penumbra fangosa

WHite wshing of memory - EL punto de vista de Salieri - la culpa, cómo se percone a si mimso en valor de plano y colores

Forman collaborated with American choreographer Twyla Tharp.

Amadeus (1984) | dir. Miloš Forman

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Leche en Carpetana , Madrid

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