Rainer Werner Fassbinder, the wunderkind of New German Cinema, worked at a prodigious rate. By the time of his death in 1982, aged just 37, he’d made over 40 feature films and directed over half as many stage plays. He also made films specially commissioned for television, something that was certainly looked down upon by both mainstream and avant-garde film-makers in the Seventies. Treating his television projects with no less commitment, Fassbinder was an arthouse film-maker who broke the mould in many ways, though his output must be said to be of vastly variable quality.

It’s the star factor. Tickets for Big and Small, by the controversial German writer Botho Strauss, are selling fast because Cate Blanchett is in it. Her protean presence in this production by the Sydney Theatre Company, of which she is the co-artistic director, casts a glow over the whole event — she’s on stage for almost the entire running time of two and three-quarter hours. But there are other pleasures to savour here: chief of these is playwright Martin Crimp’s fresh, crisp and contemporary translation of the text.

Immediately before Edgar Reitz (pictured below) made Heimat - the 52-hour film sequence begun in 1984 telling 20^th-century German history in profound provincial detail - he was washed up, a New German cinema revolutionary who was no longer new, outpaced by Wenders, Herzog and Fassbinder.

Royal families and royal academies. Aristocrats at ease in exquisitely landscaped gardens or inside in gorgeous drawings rooms. Actors emoting, notably Sir David Garrick and his troupe. Nabobs in India. All are depicted in Johan Zoffany’s rivetingly detailed paintings of Georgian society.

With the smoke from Julian Fellowes' upcoming Titanic mini-series for ITV becoming visible over the horizon, Channel 5 nipped in with this startling new spin on the tale of the doomed liner. It's not widely known that when the Nazis were riding high in the early part of World War Two, they hit upon a plan to turn the Titanic story into a blockbuster propaganda film, designed to throw contempt and ridicule over Britain's ruling elite.

Jan St Werner, half of German duo Mouse On Mars, recently held forth on their inspirations, citing the tension between metrical freedom and metronomic funk in the work of Sun Ra and Funkadelic as their key motivator. And while it might seem odd to compare two synth-twiddlers from Cologne and Düsseldorf with the great mavericks of mid-century American Afrofuturism, when you hear their music it makes complete sense.

Watch the video for "Polaroyced":

The Red Army Faction was Germany's key revolutionary force for a decade from the late 1960s onwards, and its story, especially the characters of Ulrike Meinhof and Andreas Baader, has proved highly attractive to the country's filmmakers. Uli Edel’s 2008 The Baader Meinhof Complex told the key political story in lengthy detail through to its end in 1977 when four of its key members (in the official version) committed suicide in prison. One of them was Gudrun Ensslin, who became radicalized after she became a lover of Andreas Baader.

Silent movies are currently the rage of Tinseltown, so what better moment to brush up on one of the treasures of the pre-talkie era? Top movie-ologists now contend that FW Murnau's 1926 film of Faust is a neglected all-time great ("one of the most beautifully crafted films ever made," according to Theodore Huff in Sight & Sound). It's an opinion shared by Greek composer Aphrodite Raickopoulou, whose painstakingly wrought new score for the film was premiered at the Royal Festival Hall last night.

Whether it’s the British troupes which inspired It Ain’t Half Hot Mum or Bob Hope’s visits to Vietnam, the armed forces have long recognised that entertaining the troops is central to keeping on-going campaigns on an even keel. In 1971, the US army went a step further, using bands of serving soldiers both to entertain and as a recruitment tool. For the bands, it was also a way of avoiding being sent to Vietnam. The East Of Underground Hell Below box set, which collects the albums the army released, is more than a musical artefact.

A young chap from Elsewhere woos an alderman's daughter: not Dick Whittington in panto London, but Wagner's Walther von Stolzing in an unseasonal Nuremberg. No one is going to mind the solstitial disjunction - celebrating midsummer revels in the dead of winter - when this great saga of art and society is buoyed up by Antonio Pappano's lovingly prepared conducting, a good cast, lusty chorus and colourful costumes.