1. From "To Posterity," in Bertolt Brecht, Selected Poems, trans. H. R. Hays (New York: Grove Press, 1959), p. 175.

2. Cf. James Monaco, "The Costa-Gavras Syndrome," Cineaste 7 (1976),18-22.

3. For a less harsh treatment of the Dziga Vertov films, see Monaco, New Wave, pp. 213-52. See also Sylvia Harvey, May '68 and Film Culture (London: The British Film Institute, 1980).

4. Wind from the East, in "Weekend" and "Wind from the East," trans. Marianne Sinclair and Danielle Adkinson (New York: Simon and Schuster, 1972), pp. 164-65.

5. Karl Marx, "Preface to The Critique of Political Economy," in Karl Marx and Frederick Engels: Selected Works (Moscow: Progress Publishers, 1968), p. 182.

6. "Short Organum," p. 190; see also pp. 180-83.

7. In their seminal article "Cinema/ldeology/Criticism," in Nichols, Movies and Methods, pp. 22-30, Jean-Luc Comolli and Jean Narboni offer a variety of interactions possible between form and content and discriminate between ideologies hidden, expressed, or criticized. See also Julianne Burton, "Revolutionary Cuban Cinema: First Part: Introduction," Jump Cut, no. 19 (December, 1978), 17-20.

8. Quoted in John Mraz, "Lucia: Visual Style and Historical Portrayal," Jump Cut, no. 19 (December, 1978), 21.

9. Ibid., pp. 25-27. Mraz's reading parallels mine in many instances.

10. Ibid., p. 23.

11. A breakdown of the characters is offered by Thomas M. Kavanagh, "Imperialism and Revolutionary Cinema: Glauber Rocha's Antoniodas-Mortes," Journal of Modern Literature 3 (April, 1973), 201-13.

12. "Censorship in Brazil," Jump Cut, no. 21 (November, 1979), 20. This and the following number of Jump Cut contain a thorough history and analysis of Brazilian cinema. See also Julianne Burton, "The Hour of the Embers: On the Current Situation of Latin American Cinema," Film Quarterly 30 (Fall, 1976), 33-44.

13. "Hungarian Rhapsody," Film Quarterly 34 (Fall, 1980), 55.

14. This prayer was current at the time of the events of the film. See Graham Petrie, History Must Answer to Man: The Contemporary Hungarian Cinema (Budapest: Corvina Kiadó, 1978), p. 97.

15. William Kelly, "Allegro Barbaro," Film Quarterly 34 (Fall, 1980), 47-53.

16. For a similar argument, see Joan Mellen, Women and Their Sexuality in the New Film (New York: Horizon Press, 1973), pp. 179-90.

17. Cf. Herbert Marcuse, Eros and Civilization (New York: Vintage Books, 1955).

18. Godard, Masculine Feminine, ed. Pierre Billard and Robert Hughes (New York: Grove Press, 1969), pp. 176-77.

19. Ibid., 183-84.

20. Cf. Jim Hillier, "Masculin-F~minin," in The Films of Jean-Luc Godard, ed. Ian Cameron (New York: Praeger, 1969), pp. 124-25.

21. Cf. Martyn Auty, "A Fassbinder Suicide," Sight and Sound 49 (Autumn, 1980), 266.

22. Eisenstein's essay "A Course in Treatment," in Film Form, pp. 84107, outlines his ideas on the use of internal monologue. Paul Taney pointed out the association.

23. Stephen Prince directed my attention to the Schopenhauer allusion.

24. In "Fassbinder's Sexual Politics," p. 55.

25. A Married Woman in Godard: Three Films, trans. Susan Bennett (New York: Harper and Row, 1975), p. 85.

26. This, of course, is a basic insight of Hannah Arendt; cf. The Origins of Totalitarianism (New York: Harcourt, Brace & World, 1966), PP. 430-57.

27. Quoted by Roger Greenspun, "Phantom of Liberty: Thoughts on Fassbinder's Fist-Right of Freedom," Film Comment 11 (NovemberDecember, 1975), 10.

28. Cf. Mellen, Women and Their Sexuality, p. 144. My reading of the film is close to Mellen's.

29. James Monaco makes these analogies in "Mother's' Day Will Be a Little Late This Year," The New York Times (December 2, 1973), D13.

30. Ibid.

31. Despair (from a Nabokov novel and a screenplay by Tom Stoppard) is not one of Fassbinder's most successful films, though structurally it is among his most complex. A thorough reading of it is offered by Thomas Elsaesser, "Murder, Merger, Suicide: The Politics of Despair," in Rayns, Fassbinder, pp. 37-53.

32. The film is related to the psychological theories of Jacques Lacan, examined in more detail by Peter Mayer, "Mr. Klein and the Other," Film Quarterly 34 (Winter, 1980-81), 35-39. Mayer's reading of the film's opening sequences are similar to mine.

33. See Mellen, Women and Their Sexuality, pp. 191-202.

 34. Tristana, trans. Nicholas Fry (New York: Simon & Schuster, 1971), pp. 48, 76.

 35. "Visual Pleasure and Narrative Cinema," Screen 16 (Autumn, 1975), 11-12.

 336. Cf. David Overbey, "Cet obscur objet du desir," Sight and Sound 47 (Winter, 1977/78), 8.

 37. Ibid.

               38. Quoted by Buache, Cinema of Buñuel, p. 7.