Acht Stunden sind kein Tag - Eine Serie wird zum Familientreffpunkt

Hans Hirschmüller in The Merchant of Four Seasons (1972)

Rainer Werner Fassbinder, Karlheinz Böhm, and Christiane Maybach in Fox and His Friends (1975)

Klaus Löwitsch, Mascha Rabben, and Karl Heinz Vosgerau in World on a Wire (1973)

Hanna Schygulla in The Marriage of Maria Braun (1979)

Margit Carstensen and Hanna Schygulla in The Bitter Tears of Petra von Kant (1972)

Hanna Schygulla in Eight Hours Don't Make a Day (1972)

Gottfried John, Thorsten Massinger, and Hanna Schygulla in Eight Hours Don't Make a Day (1972)

Wolfgang Schenck in Eight Hours Don't Make a Day (1972)

Brigitte Mira and Hanna Schygulla in Eight Hours Don't Make a Day (1972)

Wolfrid Lier and Hanna Schygulla in Eight Hours Don't Make a Day (1972)

Werner Finck, Gottfried John, Thorsten Massinger, Hanna Schygulla, and Luise Ullrich in Eight Hours Don't Make a Day (1972)

Anita Bucher, Wolfrid Lier, Christine Oesterlein, Kurt Raab, Renate Roland, Andrea Schober, Luise Ullrich, and Wolfgang Zerlett in Eight Hours Don't Make a Day (1972)

Peter Gauhe in Eight Hours Don't Make a Day (1972)

How many episodes does Eight Hours Don't Make a Day have?

Gottfried John

Wolfrid Lier

Anita Bucher

The young toolmaker Jochen fights with his colleagues to a performance bonus. He gets to know the girl Marion. For both, it is love at first sight.

Acht Stunden sind kein Tag

The New German Film and the TV

Amongst R.W. Fassbinder&apos;s work (66 films, if short films and episodes are counted single) one finds all genres, including TV dramas and documentary, but no horror and no sex movies. This has a good reason: The German film after World War II. consisted mainly in &quot;Crime and Sex&quot;. There were first he Lederhosen- and Heimatfilms, later those controversial elaborates like the &quot;Schulmädchen-Reporte&quot; on the one side and the Edgar Wallace and later Wallace-like thrillers which were almost all written by Herbert Reinecker and many of them directed by Alfred Vohrer, on the other side. This were the genres one intended to forget. And since TV stations (at least in the 60ies and 70ies in Germany) became technically capable of getting a competition for the cinemas, this possibility to reach a wider audience was used by the directors of the New German Cinema in order not to relapse again into the moor of Sodhom and Gomorrha. Fassbinder, at the time when the 5 parts of &quot;Acht Stunden Sind Kein Tag&quot; were broadcast (1972), only 26 years old, wanted to establish basically all those topics which were important for him in his films, also for TV. His only TV series (that got stopped although it was a big public success) gives insights in the everyday life of German lower-middle class couples or families. In the center are Jochen and Marion, the crew is the extended &quot;Fassbinder family&quot;. Codetermination at the working places of the laborers, apartment rent usury and prejudices against foreign workers are in the center of this series, but also solidarity, comradeship and social engagement. The title &quot;Eight hours are not a day&quot; became proverbial, meaning that the sense of life cannot be exhausted by slaving for a company during 8 hours, but needs in addition the butter of a bread-and-butter-job.

Acht Stunden Sind Kein Tag

https://m.media-amazon.com/images/M/MV5BZjExYzgzMmMtNzA5My00ZThjLTg3MDAtYmM0NGVlNDZkNDA2XkEyXkFqcGdeQXRyYW5zY29kZS13b3JrZmxvdw@@._V1_.jpg

Amongst R.W. Fassbinder's work (66 films, if short films and episodes are counted single) one finds all genres, including TV dramas and documentary, but no horror and no sex movies. This has a good reason: The German film after World War II. consisted mainly in "Crime and Sex". There were first he Lederhosen- and Heimatfilms, later those controversial elaborates like the "Schulmädchen-Reporte" on the one side and the Edgar Wallace and later Wallace-like thrillers which were almost all written by Herbert Reinecker and many of them directed by Alfred Vohrer, on the other side. This were the genres one intended to forget. And since TV stations (at least in the 60ies and 70ies in Germany) became technically capable of getting a competition for the cinemas, this possibility to reach a wider audience was used by the directors of the New German Cinema in order not to relapse again into the moor of Sodhom and Gomorrha. Fassbinder, at the time when the 5 parts of "Acht Stunden Sind Kein Tag" were broadcast (1972), only 26 years old, wanted to establish basically all those topics which were important for him in his films, also for TV. His only TV series (that got stopped although it was a big public success) gives insights in the everyday life of German lower-middle class couples or families. In the center are Jochen and Marion, the crew is the extended "Fassbinder family". Codetermination at the working places of the laborers, apartment rent usury and prejudices against foreign workers are in the center of this series, but also solidarity, comradeship and social engagement. The title "Eight hours are not a day" became proverbial, meaning that the sense of life cannot be exhausted by slaving for a company during 8 hours, but needs in addition the butter of a bread-and-butter-job.

bappamtv

Acht Stunden sind kein Tag

🎭 Top Cast

💰 Box Office

🎬 Technical Specs

🏷️ Keywords

🎯 Categories

⭐ Featured Review

💡 Did You Know?

🎬 More Like This

📖 Synopsis