Franz Biberkopf entre la literatura y el cine: un análisis intermedial de Berlin Alexanderplatz de Alfred Döblin y el cine de Rainer Werner Fassbinder

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07/2020
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Universidad Diego Portales. Facultad de Comunicación y Letras. Escuela de Literatura Creativa
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LaboratoriO
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0718-7467
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Este artículo aborda la particular relación intermedial entre la novela Berlin Alexanderplatz (1929) de Alfred Döblin y la obra cinematográfica de Rainer Werner Fassbinder desde una perspectiva comparatística. Si bien Fassbinder realizó una adaptación al formato miniserie de la novela de Döblin esa relación no se agota ahí sino que se puede rastrear en las múltiples referencias intermediales en prácticamente toda su obra. En este artículo se indaga esa relación a partir de la referencia al nombre Franz, a veces incluso Franz Biberkopf, otras muchas Franz Walsh, pero que siempre constituyen citas intermediales de la novela de Döblin. Se indaga específicamente en la lectura que el propio Fassbinder hace de la novela de Döblin y, particularmente, de la relación entre Biberkopf y Reinhold a partir del concepto de homosociabilidad (Sedgwick). En este sentido se trabaja principalmente los ejemplos en los que la relación entre dos hombres (uno de ellos siempre es Franz) está mediada por el intercambio de una mujer.
This article deals with the particular intermedial relationship between the novel Berlin Alexanderplatz (1929), by Alfred Döblin, and the cinematographic work by Rainer Werner Fassbinder from a comparative point of view. Even though Fassbinder made an adaptation of Döblin’s novel to the mini-series format, this relationship did not end there, but can be traced back to the several intermedial references that can be found in virtually all of his work. In this article, we shall analyze this relationship from the reference in the use of the name Franz – sometimes even Franz Biberkopf, many other times Franz Walsh –, which always works as an intermedial quotation of the novel by Döblin. We shall specifically study the reading that Fassbinder himself made of Döblin’s novel and, particularly, the relationship between Biberkopf and Reinhold from the concept of homosociability (Sedgwick). In this sense, we shall mainly work on the cases in which the relationship between two men (one of whom is always Franz) is mediated by (sexually) sharing a woman.
This article deals with the particular intermedial relationship between the novel Berlin Alexanderplatz (1929), by Alfred Döblin, and the cinematographic work by Rainer Werner Fassbinder from a comparative point of view. Even though Fassbinder made an adaptation of Döblin’s novel to the mini-series format, this relationship did not end there, but can be traced back to the several intermedial references that can be found in virtually all of his work. In this article, we shall analyze this relationship from the reference in the use of the name Franz – sometimes even Franz Biberkopf, many other times Franz Walsh –, which always works as an intermedial quotation of the novel by Döblin. We shall specifically study the reading that Fassbinder himself made of Döblin’s novel and, particularly, the relationship between Biberkopf and Reinhold from the concept of homosociability (Sedgwick). In this sense, we shall mainly work on the cases in which the relationship between two men (one of whom is always Franz) is mediated by (sexually) sharing a woman.
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