Stand der Dinge, Der (1982)

Director:

Wim Wenders

Writers:

Robert Kramer (writer)
Josh Wallace (writer)

Release Date:

18 February 1983 (USA)

Genre:

Drama

Plot:

On location in Portugal, a film crew runs out of film while making their own version of Roger Corman's _Day the World Ended...

Plot Keywords:

Film In Film | Film Making | Independent Film

Awards:

3 wins

Cast

Isabelle Weingarten	...	Anna
Rebecca Pauly	...	Joan
Jeffrey Kime	...	Mark
Geoffrey Carey	...	Robert
Camila Mora-Scheihing	...	Julia (as Camila Mora)
Alexandra Auder	...	Jane
Patrick Bauchau	...	Friedrich Munro
Paul Getty Jr.	...	Dennis (as J. Paul Getty III)
Viva	...	Kate
Samuel Fuller	...	Joe
Artur Semedo	...	Production Manager
Francisco Baião	...	Soundman
Robert Kramer	...	Camera Operator
Allen Garfield	...	Gordon
Roger Corman	...	The Lawyer

Also Known As:

Estado das Coisas, O (Portugal)
The State of Things

Runtime:

Sweden:125 min | USA:121 min

Country:

West Germany | Portugal | USA

Language:

English | French

Color:

Black and White

Sound Mix:

Mono

Certification:

Iceland:12 | UK:AA

Filming Locations:

Hollywood, Los Angeles, California, USA

Company:

Gray City

Trivia:

Samuel Fuller's character is a cameraman named Joe. Fuller named him in honor of his friend and longtime cinematographer, Joseph F. Biroc.

Quotes:

Mark: You know, I take pictures, photographs, but I never really thought in black and white before I saw our rushes. Do you know what I mean? You can see the shape of things.
Joe: Life is in colour, but black and white is more realistic.

Movie Connections:

References Most Dangerous Man Alive (1961)

Soundtrack:

Beyond and Back

ambivalence is my middle name

The cinematographer,real or fake,who would have been free to explore life and death, through narratives and images of his own conception, becomes an object of exploitation from the medium and it's economic concomitants.So he fools himself by abandoning his art to the conventions of economic necessity.Friedrich, and by implication Wenders,is afraid of the void that precedes the stories and the void that comes after.They both desire to integrate and at the same time they fear the outcome of this integration.The project of discriminating between false and authentic representation, between autonomy and manipulation or seduction is omnipresent in DER STAND DER DINGE.Against the threat of manipulation, Wenders romantically upholds the image as something pure and autonomous, an image that derive it's meaning through a network of signification but is meaningful in itself.Wenders task is "Wahrnehmen", that is to authenticate and to perceive at the same time by ascribing truth and beauty.Hence Wenders attempts to preserve something that is bound to disappear.His agenda is the recovery of vision.In Paul Cezanne's view,Wenders expresses a desire to hold the ephemeral: "Things are looking bad.You have to hurry if you want to see anything.Everything is disappearing".His films pay homage to his models who taught him the art of seeing:paintings of Edward Hopper and the par excellence Romanticism of Caspar David Friedrich, the photography of Walker Evans and August Sander.Yet his films increasingly become aware of the difficulty and even impossibility of combating the power of images through cinema.This is characterized by a paradoxical situation in which Wenders has to create images in order to battle them.Clearly this invocation of an older generation is an attempt to rid himself of a cultural legacy that he repudiates yet dares not fully confront.