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The direct-space-time method deals with space and time discretization together (other methods that treat space and time separately are known collectively as the “Method of Lines”). The Lax-Wendroff scheme falls into this category; it adds sufficient diffusion to a second order flux that the forward-in-time method is stable. The upwind biased third order DST scheme is:

(2.149) F = u ( τ i 1 + d 0 ( τ i τ i 1 ) + d 1 ( τ i 1 τ i 2 ) ) W u > 0 F = u ( τ i d 0 ( τ i τ i 1 ) d 1 ( τ i + 1 τ i ) ) W u < 0
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The coefficients d 0 and d 1 approach 1 / 3 and 1 / 6 respectively as the Courant number, c , vanishes. In this limit, the conventional third order upwind method is recovered. For finite Courant number, the deviations from the linear method are analogous to the diffusion added to centered second order advection in the Lax-Wendroff scheme.

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/ Fassbinder Frankfurt

The exhibition Fassbinder– NOW: Film and Video Art was installed at the Deutsches Filmmuseum Frankfurt from 30 October 2013 to 1 June 2014. It juxtaposed excerpts from films by Rainer Werner Fassbinder (1945-1982) with works of contemporary film and video art by Tom Geens, Runa Islam, Maryam Jafri, Jesper Just, Jeroen de Rijke Willem de Rooij, and Ming Wong, all of which connect to Fassbinder’s work either topically or aesthetically. Fassbinder’s films offer a social critique and are concerned with failed relationships, emotional exploitation, discrimination against minorities, and the burden of the past. My focus here is on the aspects of his critique, alienation, cultural identity, and sexual identity which are re-articulated in the works of these contemporary artists.

A key to this exhibition is the theme of commemoration, cultural memory, and re-enactment. Even though cinema as popular memory is less pronounced here than in Douglas Gordon’s and others’ re-appropriation of popular Hitchcock films in the late 1990s, the signature of Fassbinder still serves as the cultural heritage of these artists who explore this reference conceptually while ascribing new meanings to it. It is the institutional and pedagogical ambition of this exhibition to reassess Fassbinder ‘the auteur’ and Fassbinder’s archive from the point of view of contemporary art. For Claudia Dillman (director of the museum) and Anna Fricke (curator of the exhibition), their main motivation for the show was to raise the question of how film history can be made accessible. Moreover, I think the exhibition shows the influence films by Fassbinder have on visual strategies explored by contemporary artists who use the techniques of remake, mash-up, pastiche, and citation.

Fig. 1: Rainer Werner Fassbinder in 1970. Quelle: DIF © Peter Gauhe.

When visiting the exhibition I was interested in the influence on their aesthetics, especially when thinking of Fassbinder’s (Douglas Sirk-inspired) mise-en-scène, where the colour and framing of the film, the mirrors, the decors, and costumes tell the story. Often walls occupy about two-thirds of the screen, leaving only small rectangular frames inside which the characters have to find space to move. Door frames become picture frames for the protagonists. The artificial character of such images, a key criterion in his style, is enhanced by a distanced camera. Another component typical of Fassbinder’s style is the mixture of pop and rock music with classical music.

During the exhibition, in the same building, a retrospective of Fassbinder’s films was shown in the cinema as well as a programme of contemporary filmmakers such as Pedro Almodóvar, Martin Scorsese, and François Ozon, who claim to have been influenced by him. Therefore the film museum became a house of Fassbinder: in the basement is the cinema, in the corridor one can find documents, and in the exhibition hall different installations are on display. In front of the entrance of the exhibition screenplays and production stills from the archive of the Rainer Werner Fassbinder Foundation (RWFF) are displayed close to an installation of video screens showing Fassbinder in television interviews.

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