The above given (qualitative) equation means that if someone is clever enough to recruit solipsist phrases in order to adorn his bare egoism, he finds ways to give his egoism a societal, namely anarchist status and thus the possibility to glorify even terror and murder.
Giving Piel Jutzi's Arbeiterfil "Mutter Krausens Fahrt ins Glück" from 1929 a U-turn, R.W. Fassbinders depicts in one of his most openly political movies the last ten or so days in the life of Mother Küsters. After her husband has killed in affect his boss because he and his colleagues lost their jobs, he is talked up as a hero of the laborers, and soon after the deed, everyone is prone to profit form the alleged heroism of the quiet and during decades never disobeying plant worker. A rich couple which declare themselves as Communists invite Mother Küsters to join their party. But after she had had her introductory speech, other problems seem to be more important. Fassbinder's open critique against this "Salon-Communism" is splendid. However, Mother Küsters is not interested in the doctrine of Communism; all she has in mind is the rehabilitation of her husband whom the newspapers had portrayed as a violent-tempered, drinking bad husband and father. One day, she meats Mr. Knab who calls himself an Anarchist and convinces her that what society needs are not salon-Communists, but determined people who will complete an "action". Soon enough the old woman sees herself amidst of such an "action" in the editorial department of the famous German populist newspaper "BILD". Specially to mention is that Fassbinder decided to exchange the bitter end his movie (which gave its title) by a much more harmless "socialist" version for the American audience - with the effect that during the premiere of "Mutter Küsters Fahrt Zum Himmel", the theater got bomb threats from the ultimate political Left as well from the ultimate political Right. - A movie, despite its age, that has nothing lost from its provocative fervor.
Giving Piel Jutzi's Arbeiterfil "Mutter Krausens Fahrt ins Glück" from 1929 a U-turn, R.W. Fassbinders depicts in one of his most openly political movies the last ten or so days in the life of Mother Küsters. After her husband has killed in affect his boss because he and his colleagues lost their jobs, he is talked up as a hero of the laborers, and soon after the deed, everyone is prone to profit form the alleged heroism of the quiet and during decades never disobeying plant worker. A rich couple which declare themselves as Communists invite Mother Küsters to join their party. But after she had had her introductory speech, other problems seem to be more important. Fassbinder's open critique against this "Salon-Communism" is splendid. However, Mother Küsters is not interested in the doctrine of Communism; all she has in mind is the rehabilitation of her husband whom the newspapers had portrayed as a violent-tempered, drinking bad husband and father. One day, she meats Mr. Knab who calls himself an Anarchist and convinces her that what society needs are not salon-Communists, but determined people who will complete an "action". Soon enough the old woman sees herself amidst of such an "action" in the editorial department of the famous German populist newspaper "BILD". Specially to mention is that Fassbinder decided to exchange the bitter end his movie (which gave its title) by a much more harmless "socialist" version for the American audience - with the effect that during the premiere of "Mutter Küsters Fahrt Zum Himmel", the theater got bomb threats from the ultimate political Left as well from the ultimate political Right. - A movie, despite its age, that has nothing lost from its provocative fervor.