Author Robert Fischer

Robert Fischer

Robert Fischer started writing about film in the mid-1970s, publishing books on Hitchcock, Welles, David Lynch, Jean-Pierre Melville, Fassbinder and others. German translator of Truffaut's complete writings and Bazin’s What Is Cinema?. After a stint as Vice Director at the Munich Film Museum, where he was involved in the reconstruction of Orson Welles’ unfinished films, he switched to filmmaking in 1999. His films include: Monsieur Truffaut Meets Mr. Hitchcock (1999), Fassbinder in Hollywood (2002), Ernst Lubitsch in Berlin (2006), Starting Out: The Making of Jerzy Skolimowski’s Deep End (2011), Aldrich Over Munich: The Making of Twilight’s Last Gleaming (2012), Swan Song: The Story of Billy Wilder’s Fedora (2014), Last of the Independents: Don Siegel and the Making of Charley Varrick (2015), Return to Beethoven Street: Sam Fuller in Germany (2015) and The Mysteries of Paris: Jacques Rivette’s Out 1 Revisited (2015). Consulting Producer for The Criterion Collection, New York, since 2002. Fischer lives in Munich.

The Cinema is a Warehouse of Memory: A Conversation Among Christian Petzold, Robert Fischer, and Jaimey Fisher

Jaimey Fisher and Robert Fischer

September 2017

Christian Petzold: A Dossier

Translated by Jaimey Fisher This conversation among writer/director Christian Petzold, senior programmer Robert Fischer, and Prof. Jaimey Fisher of University of California, Davis was part of the “Filmmaker Li...

Z man, or: how do you solve a problem like Rico Ilarde - (A horror filmmaker? An indie artist? Pinoy? Pinoy?)?

Criminals Against Decoration: Modernism as a Heist

The New-Ark: trying to disavow anti-blackness

Claustrophobia and Intimacy in Alex Ross Perry’s Queen of Earth and Her Smell

What’s in a Cone? Barbara Loden’s Wanda Between Weakness and Resilience

Come and See The Painted Bird: A Filmmaker’s Plea

Thresholds of Work and Non-Work in Tulapop Saenjaroen’s People on Sunday

In the Company of Misfits: The 14th Revelation International Film Festival

Dreaming of the Mountains: The 9th Dharamshala International Film Festival

Ghost Cities: The 58th Viennale

Queer and Australian Features at the 2020 Adelaide Film Festival

Korean Cinema’s Self-Portrait: The 25th Busan International Film Festival

Live Through This: The 2020 Adelaide Film Festival

“Sense of Place”: The 33rd Tokyo International Film Festival

Cinema Affairs: Fiery Cinema: The Emergence of an Affective Medium in China, 1915-1945, by Weihong Bao

Revising a Concept: Cinema Expanded: Avant-Garde Film in the Age of Intermedia, by Jonathan Walley

When Everything Seemed Possible: London’s Arts Labs and the 60s Avant-Garde by David Curtis

“Memories Are Made of This”: Juliane Lorenz and Lothar Schirmer’s R.W. Fassbinder: Film Stills, 1966-1982

Beneath the Tuxedo Elegance: Cary Grant: The Making of a Hollywood Legend, by Mark Glancy

Anarchist Cinema: A Dream of Resistance: The Cinema of Kobayashi Masaki by Stephen Prince

Trade Follows the Film: Cinema and the Wealth of Nations: Media, Capital, and the Liberal World System by Lee Grieveson

I Magliari

Stairways to Paradise: Youssef Chahine and Alexandria…Why?

At Home Among Strangers (Свой среди чужих, чужой среди своих, Nikita Mikhalkov, 1974)

German Yearnings, East and West: The Sons of Great Bear (Josef Mach, 1966)

Waiting for Rain: Oppression and Resistance in Youssef Chahine’s The Land (1970)

Of East and West and High and Low: Lemonade Joe (1964)

A Man from the Boulevard des Capucines (Chelovek s bulvara Kaputsinov, Alla Surikova, 1987)

Tsai Ming-liang

Scott, Tony

Menzel, Jiří

Wise, Robert

Fernández, Emilio “Indio”

Fei Mu

Huston, John

The Cinema is a Warehouse of Memory: A Conversation Among Christian Petzold, Robert Fischer, and Jaimey Fisher