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...

Post-Human Post-Cinema: The Opening Titles of Westworld

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

Shock of the New: A Report From the 3^rd CPH PIX

The 34th Cinema Ritrovato Has Full Resuscitation under COVID

Women at the 2020 Toronto International Film Festival

Lest We Forget: the 31st FID Marseille

A Vitalising Cinema in an Agitated Age: The 58th New York Film Festival

Locarno 2020: The Open Doors Experience

Your Daughters Come Back to You: The 28th Pan African Film and Arts Festival

Twentieth Century Prodigal Son: Nicholas Ray – The Glorious Failure of an American Director by Patrick McGilligan

War, Community, and the Cinema: Front Lines of Community: Hollywood Between War and Democracy by Hermann Kappelhof and Five Came Back: A Story of Hollywood and the Second World War by Mark Harris

The Perfect Conditional: Philippe Garrel by Michael Leonard

Creating the Appearance of Being: The Art of American Screen Acting 1960 to Today, by Dan Callahan

The Restless Spectator: Anxious Cinephilia: Pleasure and Peril at the Movies, by Sarah Keller

Engaged Vision: Critical Mass: Social Documentary in France from the Silent Era to the New Wave, by Steven Ungar

Reagan at the Movies: Make My Day: Movie Culture in the Age of Reagan, by J. Hoberman

In the Waiting Room: John Huston's Let There Be Light

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)

Muratova, Kira

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