The still chosen above illustrates the difference between film and stage. While we hear Margit Carstensen and Katrin Schaake discussing their lives, the camera is focused on Irm Hermann, isolated both literally and symbolically, yet seen as part of the same visual field as the other two actors. In the stage production, the audience would be more likely focussed only on the two characters in conversation. Fassbinder is able to emphasize certain points by shifting the camera angle, or by having characters seen but not heard, or heard but not seen.

Even though the film takes place in one location, the set is photographed from several different angles, as are the actors. The use of dolls and mannequins in the set echo, Petra's transformation of Karin into a model, or more literally a living doll. Petra is seen transforming herself with the use of several wigs. Fassbinder also has a visual gag in one scene with two nude female mannequins embaced on a bed, while a third mannequin stands "observing" the action, a play on the relationship of the three main characters.

In research, I have found an opera and a television production of Petra Von Kant. The themes of class and use of power in the original work still make Petra Von Kant of more than casual interest. One of Fassbinder's quotes is: "Every decent director has only one subject, and finally only makes the same film over and over again. My subject is the exploitability of feelings, whoever might be the one exploiting them. It never ends. It's a permanent theme. Whether the state exploits patriotism, or whether in a couple relationship, one partner destroys the other." With multiple productions of Petra Von Kant one may wonder if Fassbinder, the filmmaker who wanted an Academy Award, would have approved his play being canonized as it were, or if the perpetual rebel would complain that he was being exploited in the name of art.