Rainer Werner Fassbinder is one of the most prominent Brechtian filmmakers of the new period of German cinema. His work was very similar to Brecht's, which could be because they had similar ideologies and backgrounds in that they both saw problems with people in their countries becoming passive consumers and less active producers. This was achieved by making the public aware of what they are watching and allowing them to see the political aesthetic. According to Alan Lovell, "Brecht's political aesthetics grew out of capitalism and the rise of consumerism after World War II in countries like the United States and Japan." What Lovell means here is that Brecht's political aesthetic was created because he saw the flaws in capitalism. This is why filmmakers such as Fassbinder turned to creating films that went against the conventional methods of cultural commodities. The conventional way in which West German cinema was operated was no longer working and a change had to happen. That being said, the political and economic situation in West Germany had an influence on why Fassbinder and many other filmmakers turned to Brecht's work and abandoned their former dominant cinema. Filmmakers such as Fassbinder saw the potential in turning to Brecht's work because they wanted an audience who would be able to respond to intellectual cinema. Brecht's character's detachment from emotion is vital, it allows the audience to gather rational thought and apply the images shown to them without being distracted by emotional attachment. Almost all of Fassbinder's characters in Katzelmacher have particular emotional reactions to the events and interactions in the film. Another example would be that of Yeste by Kluge. as an active producer, which is why he wanted to educate his audience about the political and social state of the Western world. This development of consumerism was the cause of stagnation in West Germany and led filmmakers to create a new cinema and reject the old dominant cinema. Works Cited Silberman, M (1995). German cinema. Detroit: Wayne State University Press. P181-182. Lovell, A. (1982). Epic theater and the principles of counterculture. Sauteed cut. 27 (1), 64-68. Willet, J (1964). Brecht on the theater: the development of an aesthetic. 2nd ed. Methuen: University of Michigan. p14. Lovell, A. (1982). Epic theater and the principles of counterculture. Stir-fried cut. 27 (1), 64-68.