Fear Eats the Soul
in Colour
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This reading of Fear Eats the Soul sees colour as crucial to the apparently contradictory elements of Fassbinder's powerful 'antistyle'. A consideration of Fear Eats the Soul after Written on the Wind matches Fassbinder's ardent following of Douglas Sirk's melodramatic art. The reading of is presented as a short, dense take on one of Fassbinder's 'short, tough tales. Fassbinder's aesthetic is rife with impulses pushing in different directions: putative opposites that somehow mesh. Thomson describes a cinema of social realism and formal experimentalism. Fassbinder fills everyday settings with artifice and illusion to get to life's truths. His films comprise an immersion in the plastic arts of cinema, celebrating the medium's potentialities even as they pull it apart. Repeatedly across his films, tables, coverings, and the walls of empty or sparingly occupied settings appear in searing colours.

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