1 / 21

GERM 3560

GERM 3560 New German Cinema Situation after the war Germany left completely ruined Allied control of production: West decartelisation (break up of UFA) East Centralisation -DEFA Trümmerfilme Influence of Italian Neorealism introverted self scrutiny 1950s

albert
Download Presentation

GERM 3560

An Image/Link below is provided (as is) to download presentation Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author. Content is provided to you AS IS for your information and personal use only. Download presentation by click this link. While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server. During download, if you can't get a presentation, the file might be deleted by the publisher.

E N D

Presentation Transcript

  1. GERM 3560 New German Cinema

  2. Situation after the war • Germany left completely ruined • Allied control of production: • West • decartelisation (break up of UFA) • East • Centralisation -DEFA

  3. Trümmerfilme • Influence of Italian Neorealism • introverted self scrutiny

  4. 1950s • Host of small production companies licensed: chasing the same money • Hollywood reruns: by 1951 200 American films annually • No Stunde Null in German filmmaking: 40% of directors active during NS

  5. 1950s • Two Major Production Strands • Heimatfilme • Pornography

  6. Emergence of the New German Cinema • 1961- ‘death’ of German cinema • no Federal film prize awarded • 1962 Oberhausen Manifesto • Key issue • German film must be funded. • Must be about aesthetics not commercial success.

  7. Emergence of the New German Cinema • 1965 Kuratorium Junger Deutscher Film • Young German Film • Alexander Kluge/Werner Herzog/ Edgar Reitz • Low budget • Importance of Film Schools

  8. Emergence of the New German Cinema • ‘Opa-kino’ strikes back • New film crisis • 1971 Filmverlag der Autoren in set up • Using Television and other public funding • Alexander Kluge/Wim Wenders/Edgar Reitz and Rainer Werner Fassbinder

  9. Effects of funding system • No need to raise capital on the open market • More artistic freedom, yet also dependence on whims of governments and prize juries • Low production values: • capital cannot be recouped at the box office

  10. Effects of funding system • Changes to Filmförderunganstalt: • less good for New German Cinema (rewards previous success) • Since 1983: more commercial • State prizes and regional first-film subsidies

  11. Autorenkino • Filmmakers as ‘authors’ • ‘Sensibilist’ cinema • Romanticism: national, irrational, metaphysical • Government policy: filmmaking as Kultur (Kultur and national identity) • Influence of filmmakers in political and cultural debates

  12. Television • Alternative distribution network • TV production made integral to various film subsidies bills • Public service function of TV: form and content of politcally-engaged films • Smaller productions • Team-working: women directors • Less reliance on special effects • Cross-over between TV and filmmaking • Later adopted in other countries (C4)

  13. Some Themes • The effects of the Nazi period on postwar German society • The Student Movement and the legacy of 1968

  14. Some Themes Relationship to American culture Wim Wender’s Kings of the Road ‘The Yanks have colonised our subconscious’.

  15. Aesthetics • ‘Avant-garde’? • ‘Hollywood Conventions’?

  16. Reception • Failure at Home/success abroad • Who were the films made for? • Status of the filmmaker? • Relationship to the state? • Relationship to television? • What sort of films were these?

More Related