As all the readings emphasized or focused on Fassbinder’s work this week, I’m interested to watch Fox and His Friends specifically in terms of its camp aesthetics in relation to the concept of nationhood. I particularly found Thomas Elsaesser’s examination of Fassbinder and his work relevant in that as a filmmaker, Fassbinder actually reinvents his own work and body so that his films have a true relation to his own life. It is obvious that Elsaesser emphasizes how much Fassbinder’s work is connected to his persona – marking his persona and providing more value to his films. It’s important to recognize the truth behind the films and the way in which Fassbinder strayed from victimizing German history as other filmmakers from the New German Cinema period accomplished. Fassbinder’s work seems to implicitly stand as a double meaning for not only historicity but also sexual politics. Based on Moltke’s essay, there are three particular aspects of his work that engage sexuality and fascism to radicalize and displace the victim himself. His films depict this engagement by colliding historical images with cinematic excess (or the”surplus value” aesthetic of the work), portraying camp through female superstar characters, and creating the concept of revisionism to portray the artificiality of history as told through the narrative and spectatorship. These provide a framework in which as a spectator after watching Fox and His Friends, I may be able to identify the correlation within nationhood and sexual politics as examined through German cinema.