Fassbinder: Berlin Alexanderplatz: An Exhibition

On montage, collage, and simultaneity in Fassbinder’s Berlin Alexanderplatz




<p>Crew, Photo: Karl Reiter, Rainer Werner Fassbinder Foundation</p>

Crew, Photo: Karl Reiter, Rainer Werner Fassbinder Foundation


2 May 07, 7 pm

On montage, collage, and simultaneity in Fassbinder’s Berlin Alexanderplatz
Hans Helmut Prinzler in conversation with Michael Töteberg


In the context of the exhibition Fassbinder: Berlin Alexanderplatz: An Exhibition


Hans Helmut Prinzler, a film historian and journalist, was lecturer at the dffb film academy in Berlin until he joined the Stiftung Deutsche Kinemathek (SDK) in 1979. From 1980 he looked after the program of retrospectives annually presented by SDK at the Berlin Film Festival. In 1990 he joined the SDK board of directors and was made head of the coordinating council of the Kinematheksverbund, an association of film museums and archives. Throughout the 1990s Prinzler contributed to important publications on German cinema, including Geschichte des deutschen Films, which he published jointly with Wolfgang Jacobsen and Anton Kaes in 1993.

Until 2006 Prinzler headed the Berlin Film Museum, which opened in the Sony-Center on Potsdamer Platz in 2000. During this time more than 28 special exhibitions took place next to the permanent exhibition. In 2003, Prinzler once more looked after the Berlin Film Festival program of retrospectives, and in 2006 Dieter Kosslick awarded him the Berlinale-Kamera. On 1 April 2006 Prinzler passed the directorship of the film museum on to Rainer Rother and Paul Klimpel. Two months later, the television museum to the planning of which he had contributed substantially opened within the film museum. Hans Helmut Prinzler has been a long-time member of numerous councils and commissions (Goethe-Institut, BMI, Kuratorium Junger Deutscher Film, Rundfunkrat SFB/RBB). He has been a member of the Akademie der Künste Berlin-Brandenburg since 1996 and, since 2000, heads its film- and media art section.


Michael Töteberg was born in Hamburg in 1951. After completing his studies in German literature at the University of Hamburg, he joined the Frankfurt-based publishing house Verlag der Autoren as a reader for film and television in 1978. In 1988 he left the publisher to work freelance as a writer, but returned in 1992 to take on the post of managing director. Since June 1994 he has headed the media rights agency of the Rowohlt publishing house in Reinbek.
Selected publications: John Heartfield, Reinbek 1978; Fritz Reuter, Reinbek 1978; Marieluise Fleißer, with Wend Kässens, Munich 1979; Fritz Lang, Reinbek 1985; Fellini, Reinbek 1989; Filmstadt Hamburg, Hamburg 1990; Das Ufa-Buch, ed. with Hans-Michael Bock, Frankfurt am Main 1992; Metzler Film Lexikon, ed., Stuttgart 1995; Szenenwechsel: Momentaufnahmen des jungen deutschen Films, ed., Reinbek 1999; Film: An International Bibliography, with Malte Hagener, Stuttgart 2002; Fassbinder, Reinbek 2002. 
Michael Töteberg edited the essays of Klaus Mann (with Uwe Naumann, 1992-94), Wim Wenders (1988, 1993) and Edgar Reitz (1993). He also edited the literary remains of Rainer Werner Fassbinder (1984-91), film scripts and books on films including Tom Tykwer’s Run, Lola, Run (1998), The Warrior and the Empress (2000) and Heaven (2002) as well as Wolfgang Becker’s Good Bye, Lenin! (2003). He contributed to the Kritisches Lexikon zur deutschsprachigen Gegenwartsliteratur (KLG) and the Filmlexikon CineGraph.