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  1. Werner Schroeter

    Werner Schroeter

    German film director and screenwriter

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  1. Werner Schroeter (7 April 1945 – 12 April 2010) was a German film director, screenwriter, and opera director known for his stylistic excess. Schroeter was cited by Rainer Werner Fassbinder as an influence both on his own work and on German cinema at large.

  2. Werner Schroeter. Director: The Kingdom of Naples. The key person of the New German Cinema of the '70s. His works, mostly shot in 16mm, combine an intense interest and knowledge of German history and personal dramatic and emotional investigations.

    • January 1, 1
    • Georgenthal, Thuringia, Germany
    • January 1, 1
    • Kassel, Hesse, Germany
  3. Apr 21, 2010 · Werner Schroeter, a German film and stage director whose flair for lush visuals and heightened emotions introduced an operatic sensibility to the New German Cinema movement of the 1970s,...

  4. The cult or coterie status to which Schroeter’s films have long been assigned—an obscurity abetted in North America by the persistent refusal of the New York and Toronto film festivals to show his work—infuriated his friend and champion Rainer Werner Fassbinder, who published a polemic in 1979 decrying Schroeter’s treatment as an exotic ...

  5. Werner Schroeter is, simply, the most interesting, irritating, civilizing filmmaker since Godard. So far, his films have been containers for several perennial obsessions: opera, specifically French and Italian opera buffa contrasted with German epic opera, used as sound track and visually parodied in costumes and sets.

  6. September 21–October 1, 2012. The Passions of Werner Schroeter. Although he is today recognized as one of the great directors of post-1968 European cinema, the extraordinary oeuvre of Werner Schroeter (1945-2010) has remained surprisingly unknown to the larger filmgoing public in Europe and abroad.

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  8. But for Schroeter, death was a certainty that one should face head-on, by taking whatever experiences and adventures life (still) had to offer. A new film, after all, was a new film; or as Dietrich Kuhlbrodt once put it in the title of a seminal essay, “Lived Experience: On Dealing with Werner Schroeter’s Work, Which Is to Say His Life.”.

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