title: Jeanne Moreau

text: Throughout her life, Moreau maintained friendships with prominent writers such as Jean Cocteau, Jean Genet, Henry Miller, and Marguerite Duras, (an interview with Moreau is included in Duras's book "Outside: Selected Writings"). She formerly was married to Jean-Louis Richard (1949–1964, separated in 1951), and then to American film director William Friedkin (1977–1979). She and Richard had a son, Jérôme. Director Tony Richardson left his wife Vanessa Redgrave for her in 1967, but they never married. She also had relationships with directors Louis Malle and François Truffaut, fashion designer Pierre Cardin, and the Greek actor/playboy Theodoros Roubanis.


title: Jeanne Moreau

text: In 1971, Jeanne Moreau was a signatory of the Manifesto of the 343 which publicly announced that she had obtained an illegal abortion.


title: Jeanne Moreau

text: Moreau was a close friend of Sharon Stone, who presented a 1998 American Academy of Motion Pictures life tribute to Moreau at the Samuel Goldwyn Theater, academy headquarters, in Beverly Hills. Orson Welles called her "the greatest actress in the world", and she remained one of France's most accomplished actresses.


title: Jeanne Moreau

text: In 2009, Moreau signed a petition in support of director Roman Polanski, who had been detained while traveling to a film festival in relation to his 1977 sexual abuse charges, which the petition argued would undermine the tradition of film festivals as a place for works to be shown "freely and safely", and that arresting filmmakers traveling to neutral countries could open the door "for actions of which no-one can know the effects."


title: Jeanne Moreau

text: Moreau died on 31 July 2017 at her home in Paris at the age of 89. Her body was discovered by her cleaning maid and shortly before her death, she said she felt "abandoned".


title: Red–black tree

text: In computer science, a red–black tree is a kind of self-balancing binary search tree. Each node stores an extra bit representing "color" ("red" or "black"), used to ensure that the tree remains balanced during insertions and deletions.


title: Red–black tree

text: When the tree is modified, the new tree is rearranged and "repainted" to restore the coloring properties that constrain how unbalanced the tree can become in the worst case. The properties are designed such that this rearranging and recoloring can be performed efficiently.


title: Red–black tree

text: The re-balancing is not perfect, but guarantees searching in formula_1 time, where formula_2 is the number of entries. The insert and delete operations, along with the tree rearrangement and recoloring, are also performed in formula_1 time.


title: Red–black tree

text: Tracking the color of each node requires only one bit of information per node because there are only two colors. The tree does not contain any other data specific to it being a red–black tree, so its memory footprint is almost identical to that of a classic (uncolored) binary search tree. In many cases, the additional bit of information can be stored at no additional memory cost.


title: Red–black tree

text: In 1972, Rudolf Bayer invented a data structure that was a special order-4 case of a B-tree. These trees maintained all paths from root to leaf with the same number of nodes, creating perfectly balanced trees. However, they were not "binary" search trees. Bayer called them a "symmetric binary B-tree" in his paper and later they became popular as 2–3–4 trees or just 2–4 trees.


title: Red–black tree

text: In a 1978 paper, "A Dichromatic Framework for Balanced Trees", Leonidas J. Guibas and Robert Sedgewick derived the red–black tree from the symmetric binary B-tree. The color "red" was chosen because it was the best-looking color produced by the color laser printer available to the authors while working at Xerox PARC. Another response from Guibas states that it was because of the red and black pens available to them to draw the trees.


title: Red–black tree

text: In 1993, Arne Andersson introduced the idea of a right leaning tree to simplify insert and delete operations.


title: Red–black tree

text: In 1999, Chris Okasaki showed how to make the insert operation purely functional. Its balance function needed to take care of only 4 unbalanced cases and one default balanced case.


title: Red–black tree

text: The original algorithm used 8 unbalanced cases, but reduced that to 6 unbalanced cases. Sedgewick showed that the insert operation can be implemented in just 46 lines of Java code.


title: Red–black tree

text: In 2008, Sedgewick proposed the left-leaning red–black tree, leveraging Andersson’s idea that simplified the insert and delete operations. Sedgewick originally allowed nodes whose two children are red, making his trees more like 2–3–4 trees, but later this restriction was added, making new trees more like 2–3 trees. Sedgewick implemented the insert algorithm in just 33 lines, significantly shortening his original 46 lines of code.


title: Red–black tree

text: A red–black tree is a special type of binary search tree, used in computer science to organise pieces of comparable data, such as text fragments or numbers (as e.g. the numbers in figures 1 and 2). The nodes carrying keys and/or data are frequently called "internal nodes", but in order to make this very specific they are also called non-NIL nodes in this article.


title: Red–black tree

text: The leaf nodes of red–black trees ( NIL  in figure 1) do not contain keys or data. These "leaves" need not be explicit individuals in computer memory: a NULL pointer can —as in all binary tree data structures— encode the fact that there is no child node at this position in the (parent) node. Nevertheless, by their position in the tree, these objects are in relation to other nodes that is relevant to the RB-structure, it may have parent, sibling (i.e., the other child of the parent), uncle, even nephew node; and may be child—but never parent of another node.


title: Red–black tree

text: It is not really necessary to attribute a "color" to these end-of-path objects, because the condition "is codice_1 or codice_2" is implied by the condition "is codice_1" (see also this remark).


title: Red–black tree

text: Figure 2 shows the conceptually same red–black tree without these NIL leaves. In order to arrive at the same notion of a path, one has to notice that e.g. 3 paths run through the node 1, namely a path through 1 plus 2 additional paths through 1, namely the paths through 6 and 6. This way, these ends of the paths are also docking points for new nodes to be inserted, fully equivalent to the NIL leaves of figure 1.


title: Red–black tree

text: On the other hand, in order to save a marginal amount of execution time, these (possibly many) NIL leaves may be implemented as pointers to one unique (and black) sentinel node (instead of pointers of value NULL).


title: Red–black tree

text: As a conclusion, the fact that a child does not exist (is not a true node, does not contain data) can in all occurrences be specified by the very same NULL pointer or as the very same pointer to a sentinel node. Throughout this article, either choice is called NIL node and has the constant value codice_1.


title: Red–black tree

text: The black depth of a node is defined as the number of black nodes from the root to that node (i.e. the number of black ancestors). The black height of a red–black tree is the number of black nodes in any path from the root to the leaves, which, by requirement 4, is constant (alternatively, it could be defined as the black depth of any leaf node).


title: Red–black tree

text: The black height of a node is the black height of the subtree rooted by it. In this article, the black height of a NIL node shall be set to 0, because its subtree is empty as suggested by figure 2, and its tree height is also 0.


title: Red–black tree

text: Some authors, e.g. Cormen & al., claim "the root is black" as fifth requirement; but not Mehlhorn & Sanders or Sedgewick & Wayne. Since the root can always be changed from red to black, this rule has little effect on analysis.


title: Red–black tree

text: The read-only operations, such as search or tree traversal, do not affect any of the requirements. On the other hand, the modifying operations insert and easily maintain requirements 1 and 2, but with respect to the other requirements some extra effort has to be taken, in order to avoid the introduction of a violation of requirement 3, called a red-violation, or of requirement 4, called a black-violation.


title: Red–black tree

text: The requirements enforce a critical property of red–black trees: "the path from the root to the farthest leaf is no more than twice as long as the path from the root to the nearest leaf". The result is that the tree is height-balanced. Since operations such as inserting, deleting, and finding values require worst-case time proportional to the height formula_4 of the tree, this upper bound on the height allows red–black trees to be efficient in the worst case, namely logarithmic in the number formula_2 of entries, i.e. formula_6, which is not the case for ordinary binary search trees. For a mathematical proof see section Proof of bounds.


title: Red–black tree

text: Red–black trees, like all binary search trees, allow quite efficient sequential access (e.g. in-order traversal, that is: in the order Left–Root–Right) of their elements. But they support also asymptotically optimal direct access via a traversal from root to leaf, resulting in formula_1 search time.


title: Red–black tree

text: A red–black tree is similar in structure to a B-tree of order 4, where each node can contain between 1 and 3 values and (accordingly) between 2 and 4 child pointers. In such a B-tree, each node will contain only one value matching the value in a black node of the red–black tree, with an optional value before and/or after it in the same node, both matching an equivalent red node of the red–black tree.


title: Red–black tree

text: One way to see this equivalence is to "move up" the red nodes in a graphical representation of the red–black tree, so that they align horizontally with their parent black node, by creating together a horizontal cluster. In the B-tree, or in the modified graphical representation of the red–black tree, all leaf nodes are at the same depth.


title: Red–black tree

text: The red–black tree is then structurally equivalent to a B-tree of order 4, with a minimum fill factor of 33% of values per cluster with a maximum capacity of 3 values.


title: Red–black tree

text: This B-tree type is still more general than a red–black tree though, as it allows ambiguity in a red–black tree conversion—multiple red–black trees can be produced from an equivalent B-tree of order 4 (see figure 3). If a B-tree cluster contains only 1 value, it is the minimum, black, and has two child pointers. If a cluster contains 3 values, then the central value will be black and each value stored on its sides will be red. If the cluster contains two values, however, either one can become the black node in the red–black tree (and the other one will be red).


title: Red–black tree

text: So the order-4 B-tree does not maintain which of the values contained in each cluster is the root black tree for the whole cluster and the parent of the other values in the same cluster. Despite this, the operations on red–black trees are more economical in time because you don’t have to maintain the vector of values. It may be costly if values are stored directly in each node rather than being stored by reference. B-tree nodes, however, are more economical in space because you don’t need to store the color attribute for each node. Instead, you have to know which slot in the cluster vector is used. If values are stored by reference, e.g. objects, null references can be used and so the cluster can be represented by a vector containing 3 slots for value pointers plus 4 slots for child references in the tree. In that case, the B-tree can be more compact in memory, improving data locality.


title: Red–black tree

text: The same analogy can be made with B-trees with larger orders that can be structurally equivalent to a colored binary tree: you just need more colors. Suppose that you add blue, then the blue–red–black tree defined like red–black trees but with the additional constraint that no two successive nodes in the hierarchy will be blue and all blue nodes will be children of a red node, then it becomes equivalent to a B-tree whose clusters will have at most 7 values in the following colors: blue, red, blue, black, blue, red, blue (For each cluster, there will be at most 1 black node, 2 red nodes, and 4 blue nodes).


title: Red–black tree

text: For moderate volumes of values, insertions and deletions in a colored binary tree are faster compared to B-trees because colored trees don’t attempt to maximise the fill factor of each horizontal cluster of nodes (only the minimum fill factor is guaranteed in colored binary trees, limiting the number of splits or junctions of clusters). B-trees will be faster for performing rotations (because rotations will frequently occur within the same cluster rather than with multiple separate nodes in a colored binary tree). For storing large volumes, however, B-trees will be much faster as they will be more compact by grouping several children in the same cluster where they can be accessed locally.


title: Red–black tree

text: All optimizations possible in B-trees to increase the average fill factors of clusters are possible in the equivalent multicolored binary tree. Notably, maximizing the average fill factor in a structurally equivalent B-tree is the same as reducing the total height of the multicolored tree, by increasing the number of non-black nodes. The worst case occurs when all nodes in a colored binary tree are black, the best case occurs when only a third of them are black (and the other two thirds are red nodes).


title: Red–black tree

text: Red–black trees offer worst-case guarantees for insertion time, deletion time, and search time. Not only does this make them valuable in time-sensitive applications such as real-time applications, but it makes them valuable building blocks in other data structures that provide worst-case guarantees; for example, many data structures used in computational geometry can be based on red–black trees, and the Completely Fair Scheduler used in current Linux kernels and epoll system call implementation uses red–black trees.


title: Red–black tree

text: The AVL tree is another structure supporting formula_1 search, insertion, and removal. AVL trees can be colored red–black, thus are a subset of RB trees. Worst-case height is 0.720 times the worst-case height of RB trees, so AVL trees are more rigidly balanced. The performance measurements of Ben Pfaff with realistic test cases in 79 runs find AVL to RB ratios between 0.677 and 1.077, median at 0.947, and geometric mean 0.910. WAVL trees have a performance in between those two.


title: Red–black tree

text: Red–black trees are also particularly valuable in functional programming, where they are one of the most common persistent data structures, used to construct associative arrays and sets that can retain previous versions after mutations. The persistent version of red–black trees requires formula_1 space for each insertion or deletion, in addition to time.


title: Red–black tree

text: For every 2–4 tree, there are corresponding red–black trees with data elements in the same order. The insertion and deletion operations on 2–4 trees are also equivalent to color-flipping and rotations in red–black trees. This makes 2–4 trees an important tool for understanding the logic behind red–black trees, and this is why many introductory algorithm texts introduce 2–4 trees just before red–black trees, even though 2–4 trees are not often used in practice.


title: Red–black tree

text: In 2008, Sedgewick introduced a simpler version of the red–black tree called the left-leaning red–black tree by eliminating a previously unspecified degree of freedom in the implementation. The LLRB maintains an additional invariant that all red links must lean left except during inserts and deletes. Red–black trees can be made isometric to either 2–3 trees, or 2–4 trees, for any sequence of operations. The 2–4 tree isometry was described in 1978 by Sedgewick. With 2–4 trees, the isometry is resolved by a "color flip," corresponding to a split, in which the red color of two children nodes leaves the children and moves to the parent node.


title: Red–black tree

text: The original description of the tango tree, a type of tree optimised for fast searches, specifically uses red–black trees as part of its data structure.


title: Red–black tree

text: As of Java 8, the HashMap has been modified such that instead of using a LinkedList to store different elements with colliding hashcodes, a red–black tree is used. This results in the improvement of time complexity of searching such an element from formula_10 to formula_11 where formula_12 is the number of elements with colliding hashcodes.


title: Red–black tree

text: The read-only operations, such as search or tree traversal, on a red–black tree require no modification from those used for binary search trees, because every red–black tree is a special case of a simple binary search tree. However, the immediate result of an insertion or removal may violate the properties of a red–black tree, the restoration of which is called "rebalancing" so that red–black trees become self-balancing.


title: Red–black tree

text: It requires in the "worst case" a small number, formula_1 in Big O notation, where formula_2 is the number of objects in the tree, on average or "amortized" formula_15, a constant number, of color changes (which are very quick in practice); and no more than three tree rotations (two for insertion).


title: Red–black tree

text: If the example implementation below is not suitable, other implementations with explanations may be found in Ben Pfaff’s annotated C library GNU libavl (v2.0.3 as of June 2019).


title: Red–black tree

text: The details of the insert and removal operations will be demonstrated with example C++ code. The example code uses the type definitions and macros below, as well as the helper function for rotations:


title: Red–black tree

text: The proposal breaks down both, insertion and removal (not mentioning some very simple cases), into six constellations of nodes, edges and colors, which are called cases. The code repairing (rebalancing) a case sometimes uses code of a subsequent case. The proposal contains for both, insertion and removal, exactly one case that advances one black level closer to the root and loops, the other five cases rebalance the tree of their own. The more complicated cases are pictured in a diagram.


title: Red–black tree

text: Insertion begins by placing the new (non-NIL) node, say N, at the position in the binary search tree of a NIL node whose in-order predecessor’s key compares less than the new node’s key, which in turn compares less than the key of its in-order successor.


title: Red–black tree

text: (Frequently, this positioning is the result of a search within the tree immediately preceding the insert operation and consists of a node codice_12 together with a direction codice_13 with


title: Red–black tree

text: The newly inserted node is temporarily colored red so that all paths contain the same number of black nodes as before.


title: Red–black tree

text: The current node’s parent P is black, so requirement 3 holds. Requirement 4 holds as well according to the loop invariant.


title: Red–black tree

text: If both the parent P and the uncle U are red, then both of them can be repainted black and the grandparent G becomes red for maintaining requirement 4. Since any path through the parent or uncle must pass through the grandparent, the number of black nodes on these paths has not changed. However, the grandparent G may now violate requirement 3, if it has a red parent. After relabeling G to N the loop invariant is fulfilled so that the rebalancing can be iterated on one black level (= 2 tree levels) higher.


title: Red–black tree

text: Insert case 2 has been executed for formula_19 times and the total height of the tree has increased by 1, now being formula_20


title: Red–black tree

text: Because N is also red, requirement 3 is violated. But after switching P’s color the tree is in RB-shape.


title: Red–black tree

text: The parent P is red but the uncle U is black. The ultimate goal is to rotate the parent node P to the grandparent position, but this will not work if N is an "inner" grandchild of G (i.e., if N is the left child of the right child of G or the right child of the left child of G). A at P switches the roles of the current node N and its parent P. The rotation adds paths through N (those in the subtree labeled 2, see diagram) and removes paths through P (those in the subtree labeled 4). But both P and N are red, so requirement 4 is preserved. Requirement 3 is restored in case 6.


title: Red–black tree

text: The current node N is now certain to be an "outer" grandchild of G (left of left child or right of right child). Now at G, putting P in place of G and making P the parent of N and G. G is black and its former child P is red, since requirement 3 was violated. After switching the colors of P and G the resulting tree satisfies requirement 3. Requirement 4 also remains satisfied, since all paths that went through the black G now go through the black P.


title: Red–black tree

text: Because the algorithm transforms the input without using an auxiliary data structure and using only a small amount of extra storage space for auxiliary variables it is in-place.


title: Red–black tree

text: If N is the root that does not have a non-NIL child, it is replaced by a NIL node, after which the tree is empty—and in RB-shape.


title: Red–black tree

text: If N has two non-NIL children, an additional navigation to either the maximum element in its left subtree (which is the in-order predecessor) or the minimum element in its right subtree (which is the in-order successor) finds a node with no other node in between (as shown here). This "replacement node", say R, has – as the maximal or minimal element of a subtree – at most one non-NIL child. In order to keep the software completely independent of the node structure as defined by the user, all red–black tree data related with N and R, i.e. the color of and the pointers to and from the two nodes, are exchanged. (The modified red–black tree is the same as before with the exception of the reversed order between N and R, an issue which immediately is resolved by the removal of N.) Now N has at most one non-NIL child.


title: Red–black tree

text: If N has exactly one non-NIL child, it must be a red child, because if it were a black one then requirement 4 would force a second black non-NIL child.


title: Red–black tree

text: If N is a red node, it cannot have a non-NIL child, because this would have to be black by requirement 3. Furthermore, it cannot have exactly one black child as argued just above. As a consequence, the red node N is without any child and can simply be removed.


title: Red–black tree

text: The complex case is when N is not the root, colored black and has only NIL children (⇔ no proper child).


title: Red–black tree

text: P, S, and S’s children are black. After painting S red all paths passing through S, which are precisely those paths "not" passing through N, have one less black node. Now all paths in the subtree rooted by P have the same number of black nodes, but one fewer than the paths that do not pass through P, so requirement 4 may still be violated. After relabeling P to N the loop invariant is fulfilled so that the rebalancing can be iterated on one black level (= 1 tree level) higher.


title: Red–black tree

text: The current node N is the new root. One black node has been removed from every path, so the RB-properties are preserved.


title: Red–black tree

text: The sibling S is red, so P and the nephews C and D have to be black. A at P turns S into N’s grandparent.


title: Red–black tree

text: Then after reversing the colors of P and S, the path through N is still short one black node. But N has a red parent P and a black sibling S, so the transformations in cases D4, D5, or D6 are able to restore the RB-shape.


title: Red–black tree

text: The sibling S and S’s children are black, but P is red. Exchanging the colors of S and P does not affect the number of black nodes on paths going through S, but it does add one to the number of black nodes on paths going through N, making up for the deleted black node on those paths.


title: Red–black tree

text: The sibling S is black, S’s close child C is red, and S’s distant child D is black. After a at S the nephew C becomes S’s parent and N’s new sibling. The colors of S and C are exchanged.


title: Red–black tree

text: All paths still have the same number of black nodes, but now N has a black sibling whose distant child is red, so the constellation is fit for case D6. Neither N nor its parent P are affected by this transformation, and P may be red or black ( in the diagram).


title: Red–black tree

text: The sibling S is black, S’s distant child D is red. After a at P the sibling S becomes the parent of P and S’s distant child D. The colors of P and S are exchanged, and D is made black. The subtree still has the same color at its root, namely either red or black ( in the diagram), which refers to the same color both before and after the transformation. This way requirement 3 is preserved. The paths in the subtree not passing through N (i.o.w. passing through D and node 3 in the diagram) pass through the same number of black nodes as before, but N now has one additional black ancestor: either P has become black, or it was black and S was added as a black grandparent. Thus, the paths passing through N pass through one additional black node, so that requirement 4 is restored and the total tree is in RB-shape.


title: Red–black tree

text: nodes and there is no red–black tree of this tree height with fewer nodes—therefore it is minimal.Its black height is   formula_26   (with black root) or for odd formula_4 (then with a red root) also   formula_28


title: Red–black tree

text: For a red–black tree of a certain height to have minimal number of nodes, it has to have exactly one longest path with maximal number of red nodes, in order to achieve a maximal tree height with a minimal black height. Besides this path all other nodes have to be black. If a node is taken off this tree it either loses height or some RB property.


title: Red–black tree

text: A minimal RB tree (RB in figure 4) of height formula_31 has a root whose two child subtrees are of different height. The higher child subtree is also a minimal RB tree, containing also a longest path that defines its height it has formula_32 nodes and the black height formula_33 The other subtree is a perfect binary tree of (black) height formula_34 having formula_35 black nodes—and no red node. Then the number of nodes is by induction


title: Red–black tree

text: The graph of the function formula_36 is convex and piecewise linear with breakpoints at formula_37 where formula_38 The function has been tabulated as formula_39 A027383("h"–1) for formula_40


title: Red–black tree

text: In addition to the single-element insert, delete and lookup operations, several set operations have been defined on union, intersection and set difference. Then fast "bulk" operations on insertions or deletions can be implemented based on these set functions. These set operations rely on two helper operations, "Split" and "Join". With the new operations, the implementation of red–black trees can be more efficient and highly-parallelizable. In order to achieve its time complexities this implementation requires that the root is allowed to be either red or black, and that every node stores its own black height.


title: Red–black tree

text: The union of two red–black trees and representing sets and , is a red–black tree that represents . The following recursive function computes this union:


title: Red–black tree

text: Here, "split" is presumed to return two trees: one holding the keys less its input key, one holding the greater keys. (The algorithm is non-destructive, but an in-place destructive version exists as well.)


title: Red–black tree

text: The algorithm for intersection or difference is similar, but requires the "Join2" helper routine that is the same as "Join" but without the middle key. Based on the new functions for union, intersection or difference, either one key or multiple keys can be inserted to or deleted from the red–black tree. Since "Split" calls "Join" but does not deal with the balancing criteria of red–black trees directly, such an implementation is usually called the "join-based" implementation.


title: Red–black tree

text: The complexity of each of union, intersection and difference is formula_51 for two red–black trees of sizes formula_12 and formula_53. This complexity is optimal in terms of the number of comparisons. More importantly, since the recursive calls to union, intersection or difference are independent of each other, they can be executed in parallel with a parallel depth formula_54. When formula_55, the join-based implementation has the same computational directed acyclic graph (DAG) as single-element insertion and deletion if the root of the larger tree is used to split the smaller tree.


title: Red–black tree

text: Parallel algorithms for constructing red–black trees from sorted lists of items can run in constant time or formula_56 time, depending on the computer model, if the number of processors available is asymptotically proportional to the number formula_2 of items where formula_58. Fast search, insertion, and deletion parallel algorithms are also known.


title: Red–black tree

text: The join-based algorithms for red–black trees are parallel for bulk operations, including union, intersection, construction, filter, map-reduce, and so on.


title: Red–black tree

text: Basic operations like insertion, removal or update can be parallelised by defining operations that process bulks of multiple elements. It is also possible to process bulks with several basic operations, for example bulks may contain elements to insert and also elements to remove from the tree.


title: Red–black tree

text: The algorithms for bulk operations aren’t just applicable to the red–black tree, but can be adapted to other sorted sequence data structures as well, like the 2–3 tree, 2–3–4 tree and (a,b)-tree. In the following different algorithms for bulk insert will be explained, but the same algorithms can also be applied to removal and update. Bulk insert is an operation that inserts each element of a sequence formula_59 into a tree formula_60.


title: Red–black tree

text: This approach can be applied to every sorted sequence data structure that supports efficient join- and split-operations.


title: Red–black tree

text: The general idea is to split formula_59 and formula_60 in multiple parts and perform the insertions on these parts in parallel.


title: Red–black tree

text: Note that in Step 3 the constraints for splitting formula_59 assure that in Step 5 the trees can be joined again and the resulting sequence is sorted.


title: Red–black tree

text: The pseudo code shows a simple divide-and-conquer implementation of the join-based algorithm for bulk-insert.


title: Red–black tree

text: The join operation used here differs from the version explained in this article, instead join2 is used, which misses the second parameter k.


title: Red–black tree

text: This can be done by breaking the task of processing a basic operation up into a sequence of subtasks.


title: Red–black tree

text: For multiple basic operations the subtasks can be processed in parallel by assigning each subtask to a separate processor.


title: Red–black tree

text: Also, formula_110 is assumed to be smaller than formula_111, otherwise it would be more efficient to construct the resulting tree from scratch.


title: Red–black tree

text: A red–black tree was referenced correctly in an episode of "Missing" as noted by Robert Sedgewick in one of his lectures:


title: Rainer Werner Fassbinder

text: Rainer Werner Fassbinder (; 31 May 1945 – 10 June 1982), sometimes credited as R. W. Fassbinder, was a German filmmaker. He is widely regarded as a prominent figure and catalyst of the New German Cinema movement.


title: Rainer Werner Fassbinder

text: Fassbinder's main theme was the exploitability of feelings. His films often dealt with issues of post-war Germany such as the aftermath of Nazism, the German economic miracle, and the terror of the Red Army Faction, as well as themes of love, friendship, and identity.


title: Rainer Werner Fassbinder

text: His first feature-length film was a gangster movie called "Love Is Colder Than Death" (1969); he scored his first domestic commercial success with "The Merchant of Four Seasons" (1972) and his first international success with "" (1974), both of which are considered masterpieces by contemporary critics. Big-budget projects such as "Despair" (1978), "Lili Marleen" and "Lola" (both 1981) followed.


title: Rainer Werner Fassbinder

text: His greatest success came with "The Marriage of Maria Braun" (1979), chronicling the rise and fall of a German woman in the wake of World War II. Other notable films include "The Bitter Tears of Petra von Kant" (1972), "Fox and His Friends" (1975), "Satan's Brew" (1976), "In a Year with 13 Moons" (1978), and "Querelle" (1982), all of which focused on homosexual themes.


title: Rainer Werner Fassbinder

text: Fassbinder died on 10 June 1982, at age 37, from a lethal cocktail of cocaine and barbiturates. His career lasted less than two decades, but he was extremely prolific; he completed over 40 feature films, two television series, three short films, four video productions, and 24 plays.


title: Rainer Werner Fassbinder

text: Fassbinder was born in the small town of Bad Wörishofen on 31 May 1945. He was born three weeks after US Army occupied the town and the unconditional surrender of Germany. The aftermath of World War II deeply marked his childhood and the lives of his family. In compliance with his mother's wishes, Fassbinder later claimed he was born in 1946, to more clearly establish himself as a child of the post-war period; his real age was revealed shortly before his death. He was the only child of Liselotte Pempeit (1922–93), a translator, and Helmut Fassbinder, a doctor who worked from the couple's apartment in Sendlinger Straße, near Munich's red light district. When he was three months old, he was left with a paternal uncle and aunt in the country, since his parents feared he would not survive the winter with them. He was one year old when he was returned to his parents in Munich. Fassbinder's mother came from the Free City of Danzig (now Gdańsk, Poland), whence many Germans had fled following World War II. As a result, a number of her relatives came to live with them in Munich.


title: Rainer Werner Fassbinder

text: Fassbinder's parents were cultured members of the bourgeoisie. His father mainly concentrated on his career, which he saw as a means to indulge his passion for writing poetry. His mother largely ignored him as well, spending the majority of her time with her husband working on his career. In 1951, Liselotte Pempeit and Helmut Fassbinder divorced. Helmut moved to Cologne while Liselotte raised her son as a single parent in Munich. In order to support herself and her child, Pempeit took in boarders and found employment as a German to English translator. When she was working, she often sent her son to the cinema to pass time. Later in life, Fassbinder claimed that he saw at least a film a day, sometimes as many as four in a day. During this period, Pempeit was often away from her son for long periods while she recuperated from tuberculosis. In his mother's absence, Fassbinder was looked after by his mother's tenants and friends. As he was often left alone, he became used to the independence and thus, became a juvenile delinquent. He clashed with his mother's younger lover Siggi, who lived with them when Fassbinder was around eight or nine years old. He had a similar difficult relationship with the much older journalist Wolff Eder (c.1905–71), who became his stepfather in 1959. Early in his adolescence, Fassbinder came out as homosexual.


title: Rainer Werner Fassbinder

text: As a teen, Fassbinder was sent to boarding school. His time there was marred by his repeated escape attempts, and he eventually left school before any final examinations. At the age of 15, he moved to Cologne with his father. Though they argued constantly, Fassbinder stayed with his father for a couple of years while attending night school. To earn money, he worked small jobs; he also helped his father, who rented shabby apartments to immigrant workers. During his time with his father, Fassbinder began to immerse himself in the world of culture, writing poems, short plays, and stories.


title: Rainer Werner Fassbinder

text: In 1963, aged 18, Fassbinder returned to Munich with plans to attend night school with the idea to eventually study drama. Following his mother's advice, he took acting lessons and from 1964 to 1966 attended the Fridl-Leonhard Studio for actors in Munich. There, he met Hanna Schygulla, who would become one of his most important actors. During this time, he made his first 8mm films and worked as assistant director, sound man, or in small acting roles. During this period, he also wrote the tragic-comic play: "Drops on Hot Stones". To gain entry to the Berlin Film School, Fassbinder submitted a film version of his play "Parallels". He also entered several 8 mm films including "This Night" (now considered lost), but he was turned down for admission, as were Werner Schroeter and Rosa von Praunheim who would also have careers as film directors.


title: Rainer Werner Fassbinder

text: He returned to Munich where he continued with his writing. He also made two short films,"The City Tramp" ("Der Stadtstreicher", 1966) and "The Little Chaos" ("Das Kleine Chaos", 1967). Shot in black and white, they were financed by Fassbinder's lover, Christoph Roser, an aspiring actor, in exchange for leading roles. Fassbinder acted in both of these films, which also featured Irm Hermann. In the latter, his mother – under the name of Lilo Pempeit – played the first of many parts in her son's films.


title: Rainer Werner Fassbinder

text: Fassbinder joined the Munich Action-Theater in 1967; there, he was active as actor, director and scriptwriter. After two months he became the company's leader. In April 1968 he directed the premiere production of his play "Katzelmacher", which tells the story of a foreign worker from Greece who becomes the object of intense racial, sexual, and political hatred among a group of Bavarian slackers. A few weeks later, in May 1968, the Action-Theater was disbanded after its theater was wrecked by one of its founders, jealous of Fassbinder's growing power within the group. It promptly reformed as the Anti-Theater under Fassbinder's direction. The troupe lived and performed together. This close-knit group of young actors included among them Fassbinder, Peer Raben, Harry Baer and Kurt Raab, who along with Hanna Schygulla and Irm Hermann became the most important members of his cinematic stock company. Working with the Anti-Theater, Fassbinder continued writing, directing and acting. In the space of 18 months he directed 12 plays. Of these 12 plays, four were written by Fassbinder; he rewrote five others.


title: Rainer Werner Fassbinder

text: The style of his stage directing closely resembled that of his early films, a mixture of choreographed movement and static poses, taking its cues not from the traditions of stage theater, but from musicals, cabaret, films and the student protest movement.


title: Rainer Werner Fassbinder

text: After he made his earliest feature films in 1969, Fassbinder centered his efforts in his career as film director, but maintained an intermittent foothold in the theater until his death. He worked in various productions throughout Germany and made a number of radio plays in the early 1970s. In 1974 Fassbinder took directorial control over the Theater am Turm (TAT) of Frankfurt; when this project ended in failure and controversy, Fassbinder became less interested in theater.


title: Rainer Werner Fassbinder

text: Fassbinder used his theatrical work as a springboard for making films; and many of the Anti-Theater actors and crew worked with him throughout his entire career (for instance, he made 20 films each with actresses Hanna Schygulla and Irm Herrmann). He was strongly influenced by Brecht's "Verfremdungseffekt" (alienation effect) and the French New Wave cinema, particularly the works of Jean-Luc Godard. He also praised "The Damned" (1969) by Luchino Visconti his favorite movie. Other filmmakers who influenced Fassbinder included Howard Hawks, Michael Curtiz, Raoul Walsh, and Nicholas Ray.


title: Rainer Werner Fassbinder

text: Fassbinder developed his rapid working methods early. Because he knew his actors and technicians so well, Fassbinder was able to complete as many as four or five films per year on extremely low budgets. This allowed him to compete successfully for the government grants needed to continue making films.


title: Rainer Werner Fassbinder

text: Unlike the other major "auteurs" of the New German Cinema, Volker Schlöndorff, Werner Herzog and Wim Wenders, who started out making movies, Fassbinder's stage background was evident throughout his work. Additionally, he learned how to handle all phases of production, from writing and acting to direction and theater management. This versatility surfaced in his films too where, in addition to some of the aforementioned responsibilities, Fassbinder served as composer, production designer, cinematographer, producer and editor. He also appeared in 30 projects of other directors.


title: Rainer Werner Fassbinder

text: By 1976, Fassbinder had gained international prominence, prizes at major film festivals, premieres and retrospectives in Paris, New York and Los Angeles, and a study of his work by Tony Rayns had been published. All these factors helped make him a familiar name among cinephiles and campus audiences throughout the world. He lived in Munich when not traveling, rented a house in Paris with ex-wife Ingrid Caven. He was often seen in gay bars in New York, earning him cult hero status, but also a controversial reputation in and out of his films. His films were a fixture in art houses of the time after he became internationally known with "". In 1977, he was a member of the jury at the 27th Berlin International Film Festival.


title: Rainer Werner Fassbinder

text: Starting at the age of 21, Fassbinder made forty-four films and television dramas in 15 years, along with directing 15 plays for the theatre. These films were largely written or adapted for the screen by Fassbinder. He was also art director on most of the early films, editor or co-editor on many of them (often credited as Franz Walsh, though the spelling varies), and he acted in 19 of his own films as well as for other directors. He wrote 14 plays, created new versions of six classical plays, and directed or co-directed 25 stage plays. He wrote and directed four radio plays and wrote song lyrics. In addition, he wrote 33 screenplays and collaborated with other screenwriters on 13 more. On top of this, he occasionally performed many other roles such as cinematographer and producer on a small number of them. Working with a regular ensemble of actors and technicians, he was able to complete films ahead of schedule and often under budget and thus compete successfully for government subsidies. He worked fast, typically omitting rehearsals and going with the first take.


title: Rainer Werner Fassbinder

text: Fassbinder's first ten films (1969–1971) were said to be an extension of his work in the theater, shot usually with a static camera and with deliberately unnaturalistic dialogue.


title: Rainer Werner Fassbinder

text: In 1971 through 1977, his films brought him international attention, with films modeled, to ironic effect, on the melodramas Douglas Sirk made in Hollywood in the 1950s. In these films, Fassbinder explored how deep-rooted prejudices about race, sex, sexual orientation, politics and class are inherent in society, while also tackling his trademark subject of the everyday fascism of family life and friendship.


title: Rainer Werner Fassbinder

text: The final films, from around 1977 until his death, were more varied, with international actors sometimes used and the stock company disbanded, although the casts of some films were still filled with Fassbinder regulars. He became increasingly idiosyncratic in terms of plot, form and subject matter in movies like "The Marriage of Maria Braun" (1979), "The Third Generation" (1979) and "Querelle" (1982). He also articulated his themes in the bourgeois milieu with his trilogy about women in post-fascist Germany: "The Marriage of Maria Braun" (1979), "The Angst of Veronica Voss" and "Lola".


title: Rainer Werner Fassbinder

text: "I would like to build a house with my films", Fassbinder once remarked. "Some are the cellars, others the walls, still others the windows. But I hope in the end it will be a house."


title: Rainer Werner Fassbinder

text: Fassbinder's work as a filmmaker was honored in the 2007 exhibition "Fassbinder: Berlin Alexanderplatz", which was organized by Klaus Biesenbach at the Museum of Contemporary Art together with Kunst-Werke Institute for Contemporary Art, Berlin. For his exhibition at MoMA, Klaus Biesenbach received the International Association of Art Critics (AICA) award.


title: Rainer Werner Fassbinder

text: Working simultaneously in theater and film, Fassbinder created his own style from a fusion of the two artforms. His ten early films are characterized by a self-conscious and assertive formalism. Influenced by Jean-Luc Godard, Jean-Marie Straub and the theories of Bertolt Brecht, these films are austere and minimalist in style. Although praised by many critics, they proved too demanding and inaccessible for a mass audience. Fassbinder's rapid working methods had begun by this stage.


title: Rainer Werner Fassbinder

text: Shot in black and white with a shoestring budget in April 1969, Fassbinder's first feature-length film, "Love Is Colder Than Death" (1969) ("Liebe ist kälter als der Tod"), was a deconstruction of the American gangster films of the 1930s, 1940s and 1950s. Fassbinder plays the lead role of Franz, a small-time pimp who is torn between his mistress Joanna, a sex worker played by Hanna Schygulla, and his friend Bruno, a gangster sent after Franz by the syndicate that he has refused to join. Joanna informs the police of a bank robbery the two men have planned. Bruno is killed in the shootout, but Franz and Joanna escape.


title: Rainer Werner Fassbinder

text: "Love Is Colder Than Death" is a low key film with muted tone, long sequences, non-naturalistic acting and little dialogue. Success was not immediate. "Love Is Colder Than Death" was ill-received at its premiere at the Berlin Film Festival. The film, however, already displays the themes that were to remain present through the director's subsequent work: loneliness, the longing for companionship and love, and the fear and reality of betrayal.


title: Rainer Werner Fassbinder

text: Fassbinder's second film, "Katzelmacher" (1969), (Bavarian pejorative slang term for a foreign worker from the Mediterranean), was received more positively, garnering five prizes after its debut at Mannheim. It features a group of rootless and bored young couples who spend much of their time in idle chatter, empty boasting, drinking, playing cards, intriguing or simply sitting around. The arrival of Jorgos, a guest worker from Greece, leads to a growing curiosity on the part of the women and the antagonism among the men living in a suburban block of apartments in Munich. This kind of social criticism, featuring alienated characters unable to escape the forces of oppression, is a constant throughout Fassbinder's oeuvre. "Katzelmacher" was adapted from Fassbinder's first produced play – a short piece that was expanded from forty minutes to feature length, moving the action from a country village to Munich and delaying the appearance of Jorgos.


title: Rainer Werner Fassbinder

text: "Gods of the Plague" ("Götter der Pest") is a bleak gangster film with a winter setting, shot mostly indoors and at night. The character of Franz (from Fassbinder's first film, but now played by Harry Baer) is released from prison, but falls back with the wrong crowd. He teams up with his best friend, a black Bavarian criminal who killed his brother, to raid a supermarket. Both men are betrayed by Franz's jilted lover Joanna who tips off the police. Franz is killed, and the film ends at his laconic funeral.


title: Rainer Werner Fassbinder

text: Similar in plot and characters to both "Love is Colder than Death" (1969) and "The American Soldier" (1970), "Gods of the Plague"s theme of homoerotic love would reappear repeatedly in the director's films.


title: Rainer Werner Fassbinder

text: The last of the four films Fassbinder shot in 1969, was his first in color, "Why Does Herr R. Run Amok?" "(Warum läuft Herr R. Amok?)". It was co-directed by Michael Fengler (the friend who had been his cameraman on the short film "The Little Chaos" in 1967). Only the outlines of the scenes were sketched by Fassbinder. Fengler and the cast then improvised the dialogue. Fassbinder asserted that this was really Fengler's work rather than his. Nevertheless, the two were jointly given a directorial award for the project in the 1971 German Film prize competition, and "Why Does Herr R. Run Amok?" has always been considered among Fassbinder's films.


title: Rainer Werner Fassbinder

text: "Why Does Herr R. Run Amok?" portrays the life of Herr Raab, a technical draughtsman married and with a small child. The pressures of middle-class life take a toll on him. A visit by a woman neighbor occasions the incident that gives the film its title. Irritated by the incessant chat between his wife and her friend while he tries to watch TV, Herr Raab kills the neighbor with a blow to the head with a candle stick and then kills both his wife and their son. Herr Raab is later found hanged in an office restroom.


title: Rainer Werner Fassbinder

text: The main theme of the gangster film "The American Soldier" "(Der Amerikanische Soldat)" is that violence is an expression of frustrated love. A sudden frenzied outburst of repressed passion, the revelation of desire and a need for love that has been thwarted and comes too late is central here. The eponymous hit man of the title (actually a German, played by Karl Scheydt) is a cold-blooded contract killer, who returns from Vietnam to his native Munich, where he is hired by three renegade policemen to do away with a number of undesirables. Eventually he ends up killing the girlfriend of one of the policemen with his friend Franz Walsh (Fassbinder). The film closes with the music of the song "So much tenderness", written by Fassbinder and sung by Gunther Kaufmann. "The American Soldier" is the third and final installment of Fassbinder's loose trilogy of gangster pictures formed by "Love Is Colder Than Death" and "Gods of the Plague". It pays homage to the Hollywood gangster genre, and also alludes to Southern Gothic race narratives.


title: Rainer Werner Fassbinder

text: In "" ("Die Niklashauser Fahrt"), Fassbinder co-writes and co-directs with Michael Fengler. This avant-garde film, commissioned by the WDR television network, was shot in May 1970 and it was broadcast in October the same year."The Niklashausen Journey" was loosely based on the real-life of Hans Boehm, a shepherd who in 1476 claimed that the Virgin Mary called him to foment an uprising against the church and upper classes. Despite a temporary success, Boehm's followers were eventually massacred and he was burned at the stake. Fassbinder's intention was to show how and why revolutions fail. His approach was to compare the political and sexual turmoil of feudal Germany with that of the contraculture movement and the protests of 1968. Fassbinder did not clarify the time frame of the action, mixing medieval elements (including some costumes, settings, speech and music) with those from other time periods, like the Russian Revolution, the Rococo period, postwar Germany and the Third World.


title: Rainer Werner Fassbinder

text: "The Niklashausen Journey", influenced by Jean-Luc Godard's "Weekend" and Glauber Rocha's "Antonio das Mortes", consists of only about a dozen or so scenes, most of which are either theatrical tableaux where there is no movement of the characters and the camera darts from speaker to speaker or are shots where characters pace back and forth while giving revolutionary speeches about Marxist struggles and debates on economic theories.


title: Rainer Werner Fassbinder

text: Set in 1876, "Whity" centers on the title character, a mulatto who works as the obsequious servant in the mansion of a dysfunctional family in the American South. He is the illegitimate son of the family patriarch and the black cook. Whity tries to carry out all their orders, however demeaning until several of the family members ask him to kill some of the others. He eventually kills them all and runs away to the desert with a prostitute from the local bar.


title: Rainer Werner Fassbinder

text: The film was shot in Almeria, Spain, in widescreen, on locations built for the Westerns made by Sergio Leone. Its production was particularly traumatic for cast and crew. "Whity", a mixture of Euro-western and American South melodrama, was badly received by the critics and became Fassbinder's biggest flop. The film was neither picked up for theatrical release, nor was there interest for broadcasting it on television. As a result, "Whity" was only seen as its premiere. It remained unavailable until the 1990s, when it began to be screened; now, like almost all of Fassbinder's films, it is available on DVD.


title: Rainer Werner Fassbinder

text: A whimsical comedy, "Rio das Mortes" follows two young men without prospects who try to raise money in order to realize their dream of finding a buried treasure in Peru using a map of the Rio das Mortes. The girlfriend of one of them finds the notion stupid and wants to put a stop to it, but eventually the two friends find a patroness to finance their adventure.


title: Rainer Werner Fassbinder

text: Based on an idea by Volker Schlondorff, "Rio das Mortes" was shot in January 1970 following "Why Does Herr R. Run Amok?", but was broadcast on television a year later in February 1971. The film feels casually constructed; the humor is bland and the plot has been criticized for its sloppiness and poor character development. "Rio das Mortes" is best remembered for a scene unrelated to the plot, as the girlfriend, played by Schygulla, dances to Elvis Presley's "Jailhouse Rock" on the jukebox in the company of an oafish leather-jacketed youth, played by Fassbinder.


title: Rainer Werner Fassbinder

text: "Pioneers in Ingolstadt" "(Pioniere in Ingolstadt)" was adapted from an eponymous play by Marieluise Fleißer written in 1927. It follows two young women whose lives are transformed when army engineers (the pioneers of the title) arrive to their town to build a bridge. One of the women flirts from soldier to soldier, but her friend falls in love only to be abandoned.


title: Rainer Werner Fassbinder

text: Shot in November 1970, "Pioneers in Ingolstaldt" was commissioned for television. Fassbinder wanted to bring the plot from the 1920s to contemporary Germany, but the producers, fearing to offend the German army, refused. A compromise did not satisfy any of the parties, and midway through the project Fassbinder lost interest in it. The film suffered as a consequence, and it ranks among Fassbinder's weakest films.


title: Rainer Werner Fassbinder

text: The tensions and bitterness that had surrounded the making of "Whity" led Fassbinder to dismantle the collective project of the Anti-Theater as a production company. Instead, he founded his own production company: Tango films. "Pioneers in Ingolstadt", although broadcast before the theatrical release of "Beware of a Holy Whore", was the last film made by Fassbinder during his formative period. In the following year, 1971, Fassbinder shot only one film: "The Merchant of Four Seasons".


title: Rainer Werner Fassbinder

text: "Beware of a Holy Whore" was based, like many of Fassbinder's films, on a personal experience – the shooting of his earlier film, the revisionist western "Whity" (1970). The film shows an egomaniacal director, beset by a stalled production, temperamental actors, and a frustrated crew. When asked what the movie he is making is about, he replies: "brutality." The film ends with a typical Fassbinder-esque irony, as the crew gang up on the director. "Beware of a Holy Whore" marked the end of Fassbinder's avant-garde period. It presented such an embittered and radical self-critique that his future films would have to be quite different from the ones made before. After spinning out ten films in not much more than a year (this film was shot only a few months after "Whity") in a frenzied burst of creativity, his anti-film anti-theater drive seemed to conclude.


title: Rainer Werner Fassbinder

text: After "Pioneers in Ingolstadt", Fassbinder took an eight-month break from filmmaking. During this time, he turned for a model to Hollywood melodrama, particularly the films German émigré Douglas Sirk made in Hollywood for Universal-International in the 1950s: "All That Heaven Allows", "Magnificent Obsession" and "Imitation of Life". Fassbinder was attracted to these films not only because of their entertainment value, but also for their depiction of various kinds of repression and exploitation.


title: Rainer Werner Fassbinder

text: Fassbinder scored his first domestic commercial success with "The Merchant of Four Seasons" ("Händler der vier Jahreszeiten", 1971). The film portrays a married couple who are fruit sellers. Hans faces rejection from his family after he violently assaults his wife for not bending to his will. She leaves him, but after he suffers a heart attack they reunite, though he now has to employ other men. His restricted ability to function leads him to ponder his own futility. He literally drinks himself to death.


title: Rainer Werner Fassbinder

text: "The Merchant of Four Seasons" uses melodrama as a style to create critical studies of contemporary German life for a general audience. It was Fassbinder's first effort to create what he declared he aspired to: a cinematic statement of the human condition that would transcend national boundaries as the films of Michelangelo Antonioni, Ingmar Bergman and Federico Fellini had done. It is also his first realization of what he learned from Sirk: that people, however small they may be, and their emotions, however insignificant they may seem, could be big on the movie screen.


title: Rainer Werner Fassbinder

text: Loneliness is a common theme in Fassbinder's work, together with the idea that power becomes a determining factor in all human relationships. His characters yearn for love, but seem condemned to exert an often violent control over those around them. A good example is "The Bitter Tears of Petra von Kant" ("Die bitteren Tränen der Petra von Kant", 1972) which was adapted by Fassbinder from his plays. The title character is a fashion designer who lives in a self-created dreamland and the action is restricted mostly to her lavish bedroom. After the failure of her second marriage, Petra falls hopelessly and obsessively in love with Karin, a cunning young working-class woman who wants a career in modeling. The model's exploitation of Petra mirrors Petra's extraordinary psychological abuse of her silent assistant, Marlene. Fassbinder portrays the slow meltdown of these relationships as inevitable, and his actresses (there are no men in the film) move in a slow, trance-like way that hints at a vast world of longing beneath the beautiful, brittle surface.


title: Rainer Werner Fassbinder

text: "" ("Wildwechsel", 1973), also known as "Wild Game Crossing", is a bleak story of teenage angst, set in industrial northern Germany during the 1950s. Like in many other of his films, Fassbinder analyses lower middle class life with characters who, unable to articulate their feelings, bury them in inane phrases and violent acts. Love turns into a power struggle of deception and betrayal. The story centers on Hanni, a precocious 14-year-old schoolgirl who starts a relationship with Franz, a 19-year-old worker in a chicken processing plant. Their romance faces the opposition of the girl's conservative parents. Franz is sentenced to nine months in prison for having sex with a minor. When he is released on probation, they continue their relationship and Hanni becomes pregnant. Afraid of her father's anger, she persuades Franz to kill him. Back in prison, Franz is told by Hanni that their child died at birth and that their love was "only physical".


title: Rainer Werner Fassbinder

text: Originally made for German television, "Jailbait" was based on a play by Franz Xaver Kroetz, who violently disagreed with Fassbinder's adaptation, calling it pornographic. The luridness of its theme furthered the controversy.


title: Rainer Werner Fassbinder

text: His only science fiction film, "World on a Wire" ("Welt am Draht", 1973), was a departure for Fassbinder. An adaptation of the pulp sci-fi novel "Simulacron-3" by Daniel F. Galouye, it was made as a two-part, 205 minute production for television using 16mm film stock during a hiatus from the lengthy production of "Effi Briest" and in the same year as "Martha" and "Ali: Fear Eats the Soul".


title: Rainer Werner Fassbinder

text: A story of realities within realities, "World on a Wire" follows a researcher, working at the institute of cybernetics and future science, who begins to investigate the mysterious death of his mentor. He falls deep into the cover up behind a computer capable of creating an artificial world with units living as human beings unaware that their world is just a computer projection. Made in contemporary Paris, the film was stylistically inspired by Jean-Luc Godard's "Alphaville" (1965) and in its theme of artificial humans wanting to reach real life anticipated Ridley Scott's "Blade Runner" (1982).


title: Rainer Werner Fassbinder

text: Fassbinder first gained international success with "" ("Angst essen Seele auf", 1974). This film was shot in 15 days in September 1973 with a very low budget, ranking among Fassbinder's quickest and cheapest. Nevertheless, the impact on Fassbinder's career and in overseas release remains cemented as a great and influential work. It won the International Critics Prize at Cannes and was acclaimed by critics everywhere as one of 1974's best films.


title: Rainer Werner Fassbinder

text: "Fear Eats the Soul" was loosely inspired by Sirk's "All That Heaven Allows" (1955). It details the vicious response of family and community to a lonely aging white cleaning lady who marries a muscular, much younger black Moroccan immigrant worker. The two are drawn to each other out of mutual loneliness. When their relationship becomes known, they experience various forms of hostility and public rejection. Gradually, their relationship is tolerated, not out of real acceptance, but because those around the good-hearted old lady realize their ability to exploit her is threatened. As the external pressures over the couple begin to subside, internal conflicts surface.


title: Rainer Werner Fassbinder

text: Fassbinder's main characters tend to be naifs, either men or women, who are rudely, sometimes murderously, disabused of their romantic illusions. Shot on 16mm film and made for television, "Martha" (1974) is a melodrama about cruelty in a traditional marriage.


title: Rainer Werner Fassbinder

text: The plot focuses on the title character, a spinster librarian. Soon after the death of her father while on vacation in Rome, Martha meets a wealthy civil engineer, who sweeps her off her feet. They encounter each other again at a wedding in her hometown of Constance and soon marry. However, their married life becomes an exercise for her husband to express his sadism and for Martha to endure her masochism. Her husband shows his desire for her violently, leaving marks on her body. He obsessively controls her life, her diet, her taste in music and her interests, until she is confined to their house. Martha's initially positive wish to be liked by her oppressive and abusive husband pushes her to such an extreme that she becomes deranged, leading to her own permanent physical paralysis.


title: Rainer Werner Fassbinder

text: "Effi Briest" was Fassbinder's dream film and the one in which he invested the most work. While he normally took between nine and 20 days to make a film, this time it required 58 shooting days, dragged out over two years. The film is a period piece adapted from Theodor Fontane's classic novel of 1894, concerning the consequences of betrayed love. Set in the closed, repressive Prussian society of the Bismarck era, the film paints a portrait of a woman's fate completely linked to an unbending and utterly unforgiving code of social behavior. The plot follows the story of Effi Briest, a young woman who seeks to escape her stifling marriage to a much older man by entering into a brief affair with a charming soldier. Six years later, Effi's husband discovers her affair with tragic consequences.


title: Rainer Werner Fassbinder

text: The film served as a showpiece for Fassbinder's muse and favorite actress Hanna Schygulla, whose detached acting style fitted the roles the director created for her. Fassbinder made her a star, but artistic differences while making "Effi Briest" created a split that lasted for some years, until Fassbinder called her back to take the role of Maria Braun.


title: Rainer Werner Fassbinder

text: "Like a Bird on a Wire" ("Wie ein Vogel auf dem Draht") is a forty-minute television production featuring Brigitte Mira, the main actress in "Fear eats the Soul", singing cabaret songs and love ballads from the 1940s and 1950s. Between songs, she drinks and talks about her husbands. The title is borrowed from Leonard Cohen's song "Bird on the Wire", with which the program ends.


title: Rainer Werner Fassbinder

text: Fassbinder considered this project "an attempt to do a show about the Adenauer era. For us it certainly wasn't entirely successful. But the film does reveal the utter repulsiveness and sentimentality of the time" he explained.


title: Rainer Werner Fassbinder

text: Many of Fassbinder's films deal with homosexuality, in keeping with his interest in characters who are social outsiders, but he drew away from most representations of homosexuals in films. In an interview at the 1975 Cannes Film Festival, Fassbinder said about "Fox and His Friends": "It is certainly the first film in which the characters are homosexuals, without homosexuality being made into a problem. In films, plays or novels, if homosexuals appear, the homosexuality was the problem, or it was a comic turn. But here homosexuality is shown as completely normal, and the problem is something quite different, it's a love story, where one person exploits the love of the other person, and that's the story I always tell".


title: Rainer Werner Fassbinder

text: In "Fox and His Friends" ("Faustrecht der Freiheit", 1974) a sweet but unsophisticated working-class homosexual wins the lottery and falls in love with the elegant son of an industrialist. His lover tries to mold him into a gilt-edged mirror of upper-class values, all the while appropriating Fox's lottery winnings for his own ends. He ultimately destroys Fox's illusions, leaving him heartbroken and destitute.


title: Rainer Werner Fassbinder

text: Fassbinder worked within the limits of Hollywood melodrama, though the film is partially based on the plight of his then lover Armin Meier (to whom the film is dedicated). The film is notable for Fassbinder's performance as the unlucky Fox, in a self-directed starring role.


title: Rainer Werner Fassbinder

text: "Fox and His Friends" has been deemed homophobic by some and overly pessimistic by others. The film's homosexuals are not, surprisingly, any different from the film's equally lecherous heterosexuals. The film's pessimism is far outweighed by Fassbinder's indictment of Fox as an active participant in his own victimization, a familiar critique found in many of the director's films.


title: Rainer Werner Fassbinder

text: In "Mother Küsters Goes to Heaven" ("Mutter Küsters Fahrt zum Himmel"), a melodrama, Emma Küsters becomes the center of media and political attention after her husband, a factory worker, killed his supervisor or his supervisor's son and then himself when lay offs were announced. The film drew on both Sirk's melodramas and Weimar-era workers' films, connecting the genres to tell a political coming-of-age story about Mother Küsters, who seeks to understand what led to her husband's actions and how to respond. The film is very critical of the era's politics and media, as the people to whom Emma Küsters turns all exploit her and her experience. The media, communists, anarchists and even her own family members all take advantage of Mother Küsters's tragedy to advance their own agendas.


title: Rainer Werner Fassbinder

text: Made for German television, "" ("Angst vor der Angst") is a psychological drama about a middle-class housewife, locked into a dull life with a distracted husband, two small children, and openly hostile in-laws. She becomes addicted to valium and alcohol overwhelmed by an irrational anxiety and fear of her inexorable descent into madness.


title: Rainer Werner Fassbinder

text: "Fear of Fear" is similar in theme to "Martha", which also portrays the effect of a dysfunctional marriage in an oppressed housewife, the central role was again played by Margit Carstensen.


title: Rainer Werner Fassbinder

text: "I Only Want You To Love Me" ("Ich will doch nur, daß ihr mich liebt", 1976) tells the story of Peter, a construction worker in jail for manslaughter. His life is recounted in a series of flashbacks. A hard working man, Peter spends his spare time building a house for his cold unloving parents. He marries and finds a job in another city, but in his desperate yearning for affection he tries to buy the love of those around him with expensive gifts which soon makes him fall into a spiral of debt. When he sees his own unrequited love for his parents reflected during an argument in a bar, he kills a man who serves as a proxy for his father.


title: Rainer Werner Fassbinder

text: The film was made for television and shot during a pause while making "Satan's Brew". Based on a true account taken from "For Life", a book of interviews edited by Klaus Antes and Christiane Erhardt, it was Fassbinder's personal reflections on childhood and adolescence.


title: Rainer Werner Fassbinder

text: In a time of professional crisis, Fassbinder made "Satan's Brew" ("Satansbraten", 1976) a bleak amoral comedy that pays homage to Antonin Artaud's theatre of cruelty. Stylistically far from the melodramas that made him known internationally, "Satan's Brew" gave way to a new phase in his career. In "Satan's Brew", a neurotic poet suffering from writer's block struggles to make ends meet while dealing with a frustrated long suffering wife, a half witted brother and various prostitutes and masochist women who drift in and out of his life. He convinces himself to be the reincarnation of the gay romantic poet Stefan George (1868–1933) after he plagiarizes his poem "The Albatros".


title: Rainer Werner Fassbinder

text: Enthusiasm for Fassbinder's films grew quickly after "Fear Eats the Soul". Vincent Canby paid tribute to Fassbinder as "the most original talent since Godard". In 1977, the New Yorker Theater in Manhattan held a Fassbinder Festival.


title: Rainer Werner Fassbinder

text: However, as enthusiasm for Fassbinder grew outside of Germany, his films still failed to impress the native audience. At home, he was better known for his television work and for his open homosexuality. Coupled with the controversial issues of his films — terrorism, state violence, racism, sexual politics — it seemed that everything Fassbinder did provoked or offended someone.


title: Rainer Werner Fassbinder

text: After completing in 1978 his last low-budget and very personal ventures ("In a Year of 13 Moons" and "The Third Generation") he would concentrate on making films that were becoming increasingly garish and stylized. However, his TV series "Berlin Alexanderplatz" was a naturalistic adaptation of the two-volume novel by Alfred Döblin, which Fassbinder had read many times.


title: Rainer Werner Fassbinder

text: "Chinese Roulette" ("Chinesisches Roulette") is a gothic thriller with an ensemble cast. The film follows a twelve-year-old crippled girl, Angela, who, due to her parents' lack of affection, arranges an encounter between them with their respective lovers at the family country estate. The film climaxes with a truth-guessing game. The players divide into two teams, which take it in turn to pick out one member of the other side and ask them question about people and objects. The game is played at the suggestion of Angela, who plays against her mother. When the mother asks: "In the Third Reich, what would that person have been?", Angela's answer is "Commandant of the concentration camp at Bergen Belsen"; it is her mother she is describing.


title: Rainer Werner Fassbinder

text: There are no happy endings in Fassbinder's films. His protagonists, usually weak men or women with masochistic tendencies, pay a heavy price for their victimization. "" ("Bolwieser") is based on a 1931 novel, "Bolwieser: The Novel Of a Husband" by the Bavarian writer Oskar Maria Graf. The plot follows the downfall of Xaver Bolwieser, a railway stationmaster submitted to the will of his domineering and unfaithful wife, whose repeated infidelities completely ruin Bolwieser's life. Broadcast initially as a two-part television series, "The Stationmaster's Wife" was shortened to a 112-minute feature film and released in the first anniversary of Fassbinder's death. The film stars Kurt Raab, Fassbinder's close friend whom the director usually cast as a pathetic man. Raab was also set designer of Fassbinder's films until their friendship and professional relationship broke up after making this film.


title: Rainer Werner Fassbinder

text: "Germany in Autumn" "(Deutschland im Herbst)" is an omnibus film, a collective work of eight German filmmakers including Fassbinder, Alf Brustellin, Volker Schlöndorff, Bernhard Sinkel and Alexander Kluge, the main organizer behind the project. They took a look at the wave of guilt and paranoia that afflicted West Germany's society and its authorities in the months between the kidnapping and murder of industrialist Hanns Martin Schleyer by Red Army Faction members and the deaths of Andreas Baader, Gudrun Ensslin and Jan-Carl Raspe in Stammheim Prison. The film is a document about terrorism and its sociopolitical aftermath. It begins with Schleyer's wake, a segment filmed by Alexander Kluge and Volker Schlöndorff, and it ends with the tumultuous joint funeral of Baader, Ensslin, and Raspe in Stuttgart.


title: Rainer Werner Fassbinder

text: Fassbinder made three films in English, a language in which he was not proficient: "Despair" (1978), "Lili Marleen" (1980) and "Querelle" (1982). All three films have international actors and are very ambitious, yet each faced artistic and commercial problems.


title: Rainer Werner Fassbinder

text: "Despair" is based upon the 1936 novel of the same name by Vladimir Nabokov, adapted by Tom Stoppard and featuring Dirk Bogarde. It was made on a budget of 6,000,000 DEM, exceeding the total cost of Fassbinder's first 15 films.


title: Rainer Werner Fassbinder

text: "Despair – A Journey into the Light" ("Despair – Eine Reise ins Licht") tells the story of Hermann Hermann, an unbalanced Russian émigré and chocolate magnate, whose business and marriage have both grown bitter. The factory is close to bankruptcy, and his vulgar wife is chronically unfaithful. He hatches an elaborate plot to take a new identity in the belief it will free him of all his worries. The story of Hermann's descent into madness is juxtaposed against the rise of National Socialism in the Germany of the 1930s.


title: Rainer Werner Fassbinder

text: "In a Year of Thirteen Moons" ("In einem Jahr mit 13 Monden", 1978) is Fassbinder's most personal and bleakest work. The film follows the tragic life of Elvira, a transsexual formerly known as Erwin. In the last few days before her suicide, she decides to visit some of the important people and places in her life. In one sequence, Elvira wanders through the slaughterhouse where she worked as Erwin, recounting her history amid the meat-hooked corpses of cattle whose slit throats rain blood onto the floor. In another scene, Elvira returns to the orphanage where she was raised by nuns and hears the brutal story of her childhood. Fassbinder's camera tracks the nun (played by his mother) telling Elvira's story; she moves with a kind of military precision through the grounds, recounting the story in blazing detail, unaware that Elvira had collapsed and can no longer hear it.


title: Rainer Werner Fassbinder

text: "In a Year of Thirteen Moons" was explicitly personal, a reaction to his former lover Armin Meier's suicide. In addition to writing, directing, and editing, Fassbinder also designed the production and worked as the cameraman. When the film played in the New York Film Festival in October 1979, critic Vincent Canby (who championed Fassbinder's work in the United States) wrote, "Its only redeeming feature is genius."


title: Rainer Werner Fassbinder

text: With "The Marriage of Maria Braun" ("Die Ehe der Maria Braun"), his greatest success, Fassbinder finally attained the popular acceptance he sought with German audiences. The title character is an ambitious and strong willed woman separated from her husband towards the end of World War II. The plot follows Maria Braun's steady rise as a successful business woman during the Adenauer era. Maria's dream of a happy life with her husband remains unfulfilled. Her professional achievements are not accompanied by personal happiness. The film, constructed in the Hollywood tradition of "women's pictures" presenting a woman overcoming hardships, serves also as a parable of the West Germany economic miracle embodied in the character of Maria Braun. Her story of manipulation and betrayal parallels Germany's spectacular postwar economic recovery in terms of its cost in human values.


title: Rainer Werner Fassbinder

text: The film was the first part of a trilogy centered on women during the post-war "economic miracle" which was completed with "Lola" (1981) and "Veronika Voss" (1982).


title: Rainer Werner Fassbinder

text: The economic success of "The Marriage of Maria Braun" allowed Fassbinder to pay his debts and to embark on a personal project, "The Third Generation" ("Die Dritte Generation", 1979), a black comedy about terrorism. Fassbinder found financial backing for this film difficult to acquire and it was ultimately made on a small budget and borrowed money. As he did with "In a Year of Thirteen Moons", Fassbinder worked again as the film's cameraman.


title: Rainer Werner Fassbinder

text: The film concerns a group of aspiring terrorists from leftist bourgeois backgrounds who kidnap an industrialist during carnival season unaware that they have been manipulated by the capitalist and the authorities whose hidden agenda is for terrorism to create a demand for security hardware and to gain support for harsher security measures. The actions of the ineffectual cell of underground terrorists are overlaid with a soundtrack filled with newscast, voiceovers, music and gibberish. The political theme of the film aroused controversy.


title: Rainer Werner Fassbinder

text: Returning to his explorations of German history, Fassbinder finally realized his dream of adapting Alfred Döblin's 1929 novel "Berlin Alexanderplatz". A television series running more than 13 hours, with a two-hour coda (released in the U.S. as a 15-hour feature), it was the culmination of the director's inter-related themes of love, life, and power.


title: Rainer Werner Fassbinder

text: "Berlin Alexanderplatz" centers on Franz Biberkopf, a former convict and minor pimp, who tries to stay out of trouble but is dragged down by crime, poverty and the duplicity of those around him. His best friend, Reinhold, makes him lose an arm and murders Franz' prostitute girlfriend, Mieze. The love triangle of Franz, Reinhold and Mieze is staged against the rising tide of Nazism in Germany. The film emphasized the sadomasochist relationship between Biberkopf and Reinhold stressing its homoerotic nature. Fassbinder had read the book at age 14; later claiming that it helped him survive a "murderous puberty". The influence of Döblin's novel can be seen in many of Fassbinder's films most of whose protagonists are named Franz, some with the surname Biberkopf like the naïve working class lottery winner in "Fox and His Friends", who is played by Fassbinder. He also took the pseudonym of Franz Walsch for his work as editor on his own films: Walsch was an oblique homage to director Raoul Walsh.


title: Rainer Werner Fassbinder

text: Fassbinder took on the Nazi period with "Lili Marleen", an international co production, shot in English and with a large budget. The script was vaguely based on the autobiography of World War II singer Lale Andersen, "The Sky Has Many Colors". The film is constructed as a big, tear-jerking Hollywood melodrama in its depiction of the unfulfilled love story between a German variety singer separated by the war from a Swiss Jewish composer. Central to the story is the song that gives the film its title.


title: Rainer Werner Fassbinder

text: Fassbinder presents the period of Nazi Germany as a predictable development of German history that was staged as spectacle supported by hate. Filmed with a morbid nostalgia for swastikas, showbiz glitz and as a cloak-and-dagger romance, the main theme of "Lili Marleen" is the question: is it morally justifiable to survive under National Socialism, as the naïve singer does by having a successful career?


title: Rainer Werner Fassbinder

text: "Theater In Trance" is a documentary which Fassbinder shot in Cologne in June 1981 at the "Theaters of the World" Festival. Over scenes from groups such as the Squat Theatre and the Tanztheater Wuppertal Pina Bausch Fassbinder spoke passages from Antonin Artaud as well as his own commentary.


title: Rainer Werner Fassbinder

text: "Lola" tells the story of an upright, new building commissioner who arrives in a small town. He falls in love with Lola, innocently unaware of the fact that she is a famed prostitute and the mistress of an unscrupulous developer. Unable to reconcile his idealistic image of Lola with reality, the commissioner spirals into the very corruption he had sought to fight out.


title: Rainer Werner Fassbinder

text: Fassbinder won the Golden Bear at the 32nd Berlin International Film Festival for "Veronika Voss". The original German title, "Die Sehnsucht der Veronika Voss", translates as "The longing of Veronika Voss". Set in the 1950s, the film depicts the twilight years of the title character, a faded Nazi starlet. A sports reporter becomes enthralled by the unbalanced actress and discovers that she is under the power of a villainous doctor who supplies her with the drugs she craves so long as she can pay the exorbitant fee. Despite the reporter's best attempts, he is unable to save her from a terrible end.


title: Rainer Werner Fassbinder

text: Fassbinder did not live to see the premiere of his last film, "Querelle", based on Jean Genet's novel "Querelle de Brest". The plot follows the title character, a handsome sailor who is a thief and hustler. Frustrated in a homoerotic relationship with his own brother, Querelle betrays those who love him and pays them even with murder.


title: Rainer Werner Fassbinder

text: Fassbinder had sexual relationships with both men and women. He rarely kept his professional and personal life separate, and was known to cast family, friends and lovers in his films. Early in his career he had a lasting but fractured relationship with Irm Hermann, a former secretary whom he forced to become an actress. Fassbinder usually cast her in unglamorous roles, most notably as the unfaithful wife in "The Merchant of Four Seasons" and the silent abused assistant in "The Bitter Tears of Petra von Kant".


title: Rainer Werner Fassbinder

text: Irm Hermann idolized him, but Fassbinder tormented and tortured her for over a decade. This included domestic violence: "He couldn't conceive of my refusing him, and he tried everything. He almost beat me to death on the streets of Bochum ..." In 1977, Hermann became romantically involved with another man and became pregnant by him. Fassbinder proposed to her and offered to adopt the child; she turned him down.


title: Rainer Werner Fassbinder

text: In 1969, while portraying the lead role in the TV film "Baal" under the direction of Volker Schlöndorff, Fassbinder met Günther Kaufmann, a black Bavarian actor who had a minor role in the film. Despite the fact that Kaufmann was married and had two children, Fassbinder fell madly in love with him. The two began a turbulent affair which ultimately affected the production of "Baal". Fassbinder tried to buy Kaufmann's love by casting him in major roles in his films and buying him expensive gifts.


title: Rainer Werner Fassbinder

text: Kaufmann relished the attention and became more demanding. Fassbinder bought him four Lamborghinis over the period of a year; Kauffmann wrecked one and sold the others if they failed to meet his expectations. The relationship came to an end when Kaufmann became romantically involved with composer Peer Raben. After the end of their relationship, Fassbinder continued to cast Kaufmann in his films, albeit in minor roles. Kaufmann appeared in 14 of Fassbinder's films, with the lead role in "Whity" (1971).


title: Rainer Werner Fassbinder

text: Although he claimed to be opposed to matrimony as an institution, in 1970 Fassbinder married Ingrid Caven, an actress who regularly appeared in his films. Their wedding reception was recycled in the film he was making at that time, "The American Soldier". Their relationship of mutual admiration survived the complete failure of their two-year marriage. "Ours was a love story in spite of the marriage", Caven explained in an interview, adding about her former husband's sexuality: "Rainer was a homosexual who also needed a woman. It's that simple and that complex." The three most important women of Fassbinder's life, Irm Hermann, Ingrid Caven and Juliane Lorenz, his last partner, were not disturbed by his homosexuality.


title: Rainer Werner Fassbinder

text: In 1971, Fassbinder began a relationship with El Hedi ben Salem, a Moroccan Berber who had left his wife and five children the previous year, after meeting him at a gay bathhouse in Paris. Over the next three years, Salem appeared in several Fassbinder productions. His best-known role was as Ali in "" (1974). Their three-year relationship was punctuated with jealousy, violence and heavy drug and alcohol use. Fassbinder finally ended the relationship in 1974, due to Salem's chronic alcoholism and tendency to become violent when he drank. Shortly after the breakup, Salem stabbed three people (none fatally) in Berlin and had to be smuggled out of the city. Salem eventually made his way to France where he was arrested and imprisoned. He hanged himself while in custody in 1977. News of Salem's suicide was kept from Fassbinder for years. He eventually found out about his former lover's death shortly before his own death in 1982 and dedicated his last film, "Querelle", to Salem.


title: Rainer Werner Fassbinder

text: Fassbinder's next lover was Armin Meier. Meier was a near-illiterate former butcher who had spent his early years in an orphanage. He also appeared in several Fassbinder films in this period. A glimpse into their troubled relationship can be seen in Fassbinder's episode for "Germany in Autumn" (1978). Fassbinder ended the relationship in April 1978. During the week of Fassbinder's birthday (31 May), Meier deliberately consumed four bottles of sleeping pills and alcohol in the kitchen of the apartment he and Fassbinder had previously shared. His body was found a week later.


title: Rainer Werner Fassbinder

text: In the last four years of Fassbinder's life, his companion was Juliane Lorenz (born 1957), the editor of his films during the last years of his life. She can be seen in a small role as the film producer's secretary in "Veronika Voss". According to Lorenz, they considered getting married but never did so. Although they were reported as drifting apart in his last year, an accusation Lorenz has denied, they were still living together at the time of his death.


title: Rainer Werner Fassbinder

text: Media scandals and controversies ensured that in Germany Fassbinder was permanently in the news, making calculatedly provocative remarks in interviews. His work often received mixed reviews from the national critics, many of whom only began to take him seriously after the foreign press had hailed him as a major director.


title: Rainer Werner Fassbinder

text: There were frequent exposés of his lifestyle in the press, and attacks on all sides from the groups his films offended. His television series "Eight Hours Don't Make a Day" was cut from eight to five episodes after pressure from conservatives. The playwright Franz Xaver Kroetz sued over Fassbinder's adaptation of his play "Jail Bait", alleging that it was obscene. Lesbians and feminists accused Fassbinder of misogyny (in presenting women as complicit in their own oppression) in his 'Women's Pictures'. "The Bitter Tears of Petra von Kant" has been cited by some feminist and gay critics as both homophobic and sexist.


title: Rainer Werner Fassbinder

text: Gay critics also criticized "Fox and His Friends" for not positively depicting homosexuality in bourgeois society, feeling Fassbinder had betrayed them. Conservatives attacked him for his association with the far-left. Marxists said he had sold out his political principles in his depictions of left-intellectual manipulations in "Mother Küsters' Trip to Heaven" and of a late-blooming terrorist in "The Third Generation". "Berlin Alexanderplatz" was moved to a late-night television slot amid widespread complaints that it was unsuitable for children. The most heated criticism came for his play "Trash, the City and Death", whose scheduled performance at the Theater am Turm in Frankfurt was cancelled early in 1975 amid charges of anti-semitism. In the turmoil, Fassbinder resigned from his directorship of that prestigious theater complex, complaining that the play had been misinterpreted. The play is about an unscrupulous and very greedy Jewish businessman in Frankfurt who ruthlessly uses German guilt over the Holocaust to make himself rich. Though published at the time, and quickly withdrawn, the play was not performed until five years after Fassbinder's death by Thieves Theatre in 1987 at ABC No Rio.


title: Rainer Werner Fassbinder

text: By the time he made his last film, "Querelle" (1982), Fassbinder was consuming significant quantities of drugs and alcohol. On the night of 9–10 June 1982, Wolf Gremm, director of the film "Kamikaze 1989" (1982), which starred Fassbinder, was staying in his apartment. Early that evening, Fassbinder retired to his bedroom. He was working on notes for a future film, "Rosa L", based on the life of Polish-German revolutionary socialist Rosa Luxemburg. Fassbinder was watching television while reading when, shortly after 1 a.m., he received a phone call from his friend and assistant Harry Baer. At 3:30 a.m, when Juliane Lorenz arrived home, she heard the noise of the television in Fassbinder's room, but she could not hear him snoring. Though not allowed to enter the room uninvited, she went in, and discovered his lifeless body with a cigarette still between his lips. A thin ribbon of blood trickled from one nostril.


title: Rainer Werner Fassbinder

text: Fassbinder died from an overdose of cocaine and barbiturates. The notes for "Rosa L" were found next to his body. His remains were interred at Bogenhausener Friedhof in Munich.


title: Salli Richardson

text: Salli Elise Richardson-Whitfield () is an American actress, director and producer. Richardson is known for her role as Angela in the film "A Low Down Dirty Shame" (1994) and for her role as Dr. Allison Blake on the Syfy comedy-drama series "Eureka" (2006–2012).


title: Salli Richardson

text: She is also known for her voice acting as Elisa Maza on the Disney animated series "Gargoyles" (1994–1996), and as Viveca Foster on the CBS series "Family Law" (1999-2002). Richardson also has appeared in a number of other films such as "The Great White Hype" (1996), "Antwone Fisher" (2002), "" (2004) and "I Am Legend" (2007). She had leading roles in the independent films "Pastor Brown" (2009), "Black Dynamite" (2009) and "I Will Follow" (2010). In the 2010s, Richardson started working as a television director.


title: Salli Richardson

text: Richardson was born in Chicago, Illinois. Her mother is of African American ancestry (with distant Cherokee roots), and her father was of English and Italian descent. She played tennis in high school at the University of Chicago Laboratory Schools, and launched her acting career in the Kuumba Workshop theater there; she graduated in 1985.


title: Salli Richardson

text: Richardson "began her acting career in the theater before transitioning to roles in television and film". In film, she played small roles in "Prelude to a Kiss", "Mo' Money", "Posse", and later had major roles in "Sioux City" and "A Low Down Dirty Shame". From 1994 to 1996 she voiced the character Elisa Maza on the animated series "Gargoyles". She had many guest-starring roles in numerous television shows, such as "", "New York Undercover", "The Pretender", "Stargate SG-1", "NYPD Blue", "House", "Bones", "Criminal Minds", "NCIS" and "Castle".


title: Salli Richardson

text: Richardson starred opposite Dixie Carter and Kathleen Quinlan in the CBS legal drama series, "Family Law", from 1999 to 2002. She had recurring roles as Nancy Adams on "Rude Awakening", and as Laura on "". She starred opposite Denzel Washington in the 2002 drama film "Antwone Fisher". She also appeared in the 2004 horror film "", and starred opposite Will Smith in 2007's post-apocalyptic film "I Am Legend". She later had a leading role in the independent dramas "Pastor Brown" (2009), and in "I Will Follow" (2010) directed by Ava DuVernay. She also starred in "The Sin Seer" with Isaiah Washington, set for 2015 release.


title: Salli Richardson

text: From 2006 to 2012, Richardson starred as Department of Defense agent (and later head of Global Dynamics) Allison Blake in the Syfy comedy-drama series "Eureka". Her second pregnancy was written into the storyline of the series. After the series' cancellation, she was cast as the lead in the Lifetime drama pilot "The Secret Lives of Wives". In 2014, Richardson was cast in a recurring role on Lifetime's "The Lottery" as the first lady of the United States, but she lost it to Shelley Conn; She also has a role on BET's "Being Mary Jane" as an old friend of the lead character. In 2015, Richardson was cast in the ABC Family series, "Stitchers". The series was canceled after three seasons in 2017.


title: Salli Richardson

text: Richardson has also worked as a director of episodic television, her latest being episodes 5 and 6 of the first season of Wheel of Time for Amazon. Following her directorial debut on two episodes of her show "Eureka", in 2016 she directed two episodes of Ava DuVernay's drama series for Oprah Winfrey Network, "Queen Sugar" (on which her husband Dondre Whitfield appears as a series regular). In 2016, Richardson also directed an episode of the historical action-drama "Underground" for WGN America. In 2017, she directed two episodes of BET drama "Rebel", and Shonda Rhimes' "Scandal". Her comedy directing credits include "Survivor's Remorse", "I'm Dying Up Here", "Black-ish" and "Dear White People". In 2018, she also directed the 16th episode of "Agents of S.H.I.E.L.D."s fifth-season episode "Inside Voices". Her other notable directing credits include "Chicago Med", "Luke Cage", "Black Lightning", "The Punisher", "American Gods", "See" and "Altered Carbon".


title: Salli Richardson

text: In 2019, Richardson received an NAACP Image Award for Outstanding Directing in a Drama Series nomination for her work directing "Luke Cage". Also in 2019, she won a Black Reel Award for Outstanding Directing in a Comedy Series for directing "Black-ish". In September 2020, she signed a project development deal with HBO. Richardson produces and had had directed episodes of HBO period drama "The Gilded Age" and Adam McKay's untitled Lakers project. Also in 2020, she directed the "Zoom Where It Happens" special "The One with the Diverse Cast", a "Friends" one-night reboot starring Sterling K. Brown, Uzo Aduba, Ryan Michelle Bathe, Aisha Hinds, Kendrick Sampson and Jeremy Pope.


title: Salli Richardson

text: On September 8, 2002, she married long-time boyfriend and fellow actor Dondre Whitfield. She and Whitfield have one daughter and one son.


title: Honda CR-X

text: The Honda CR-X (styled in some markets as Honda CRX), originally launched as the Honda Ballade Sports CR-X in Japan, is a front-wheel-drive sport compact car manufactured by Honda from 1983 until 1991. The first generation CRX was marketed in some regions outside Japan as the Honda Civic CRX. Although there are many supposed definitions for the acronym CR-X, the most widely accepted is "Civic Renaissance Experimental".


title: Honda CR-X

text: In the U.S., the CRX was marketed as an economy sport Kammback with room for two passengers while Japanese and European market cars came with a 2+2 seating arrangement. Redesigned for the 1988 model year and produced until 1991, the CRX was popular for its performance, nimble handling, and good fuel economy. The CR-X was replaced by Honda's CR-X del Sol and was marketed as a CR-X in some markets.