abstract
This article analyzes the film Chronicle of Anna Magdalena Bach (1968), by Danièle Huillet and Jean-Marie Straub, in order to show how, analogously, when dealing with modes of artistic production, it demystifies the genius of Johann Sebastian Bach, contextualizing his work in the ecclesiastical order of the 18th century, and it criticizes the precepts of Autorenfilm of the new German cinema, dependent on a system of state funding, in which it takes part of. In addition, it seeks to indicate the possibility of alternative forms of artistic production and sensitive perception engendered cinematographically that are opposed to alienated work.
keywords:
Danièle Huillet and Jean-Marie Straub; new German cinema; authorship