Films
Several German film and TV productions were made about the RAF. These include Klaus Lemke's telefeature Brandstifter (Arsonists) (1969); the Volker Schloendorff adaptation of Heinrich Böll's novel Die verlorene Ehre der Katharina Blum (The Lost Honor of Katharina Blum) (1975); Germany in Autumn (1978), codirected by Alexander Kluge, Volker Schloendorff, Rainer Werner Fassbinder and Edgar Reitz; Fassbinder's Die dritte Generation (The Third Generation) (1979); Margarethe von Trotta's Die bleierne Zeit (The German Sisters) (1981); Reinhard Hauff's Stammheim (1986); Christian Petzold's Die innere Sicherheit (The State I Am In) (2000); Christopher Roth's Baader (2002); Uli Edel's adaptation of Stefan Aust's Der Baader Meinhof Komplex (2008).
Outside Germany, films include Swiss director Markus Imhoof's Die Reise (The Journey) (1986). On TV, there was Heinrich Breloer's Todesspiel (Death Game) (1997), a two-part docu-drama, and Volker Schloendorff's Die Stille nach dem Schuss (Rita's Legends) (2000).
There have been several documentaries: Im Fadenkreuz – Deutschland & die RAF (1997, several directors); Gerd Conradt's Starbuck Holger Meins (2001); Andres Veiel's Black Box BRD (2001); Klaus Stern's Andreas Baader – Der Staatsfeind (Enemy of the State) (2003); Ben Lewis's In Love With Terror, for BBC Four (2003); and Ulrike Meinhof – Wege in den Terror (Ways into Terror) (2006).
The 2010 feature documentary Children of the Revolution tells Ulrike Meinhof's story from the perspective of her daughter, journalist and historian Bettina Röhl, while Andres Veiel's 2011 feature film If Not Us, Who? provides a context for the RAF's origins through the perspective of Gudrun Ensslin's partner Bernward Vesper.
Read more about this topic: Red Army Faction
Famous quotes containing the word films:
“Television does not dominate or insist, as movies do. It is not sensational, but taken for granted. Insistence would destroy it, for its message is so dire that it relies on being the background drone that counters silence. For most of us, it is something turned on and off as we would the light. It is a service, not a luxury or a thing of choice.”
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