Eros and Abolition: The Fight to End Work in R.W. Fassbinder’s Eight Hours Don’t Make a Day

Commissioned for West German public television, Rainer Werner Fassbinder’s hotly debated 1972 series Eight Hours Don’t Make a Day was Germany’s first working-class family drama. Centering on the growing class consciousness of a crew of toolmakers in Cologne, the show provoked an explosion of criticism and debate among conservative critics, leftists, and trade unionists alike. Westdeutscher Rundfunk—a leader in high-quality, non-commercial, socially engaged television—sought to meet the cultural demands of the New Left by embracing the “worker film” (Arbeiterfilm) that aspired to bring the lives and dreams of the working class, WDR’s target audience, to the screen for the first time. What they got instead was a radical call for the abolition of capitalism—a TV-show that did not condescend to workers through representation of their everyday struggles, but rather radicalized them into the knowledge that employers need workers, not the other way around. Within a remarkably intersectional framework that appoints the lone non-straight, racialized worker and female characters the intellectual vanguard of the mobilizing workers, the show takes the contradictions between the factory workers’ interests and those of their management as its dramatic motor, converging on the anticapitalist insight that eight hours do not, in fact, make a day. Unsurprisingly, despite its popularity, Fassbinder’s show was cancelled five episodes into an eight episode series. In this article, I consider its potential in terms of two great thinkers of abolition—Mario Tronti, a founding figure in the Operaismo movement, and Mario Mieli, a gay communist organizer who asserted that the “liberation of Eros and the achievement of communism” were two sides of the same coin.