Author | Thomas Elsaesser |
---|---|
Language | English |
Subject | New German Cinema |
Publisher | Rutgers University Press |
Publication date | 1989 |
Publication place | United States |
Pages | 430 |
ISBN | 978-0-8135-1392-8 |
New German Cinema: A History is a 1989 book about the New German Cinema, a film movement in the second half of the 20th century. It was written by the German-British film historian Thomas Elsaesser and published by Rutgers University Press. [1]
The book is an analysis of the New German Cinema, a film movement in West Germany during the second half of the 20th century, which according to Elsaesser peaked in the 1970s. The movement included filmmakers such as Rainer Werner Fassbinder, Wim Wenders, Werner Herzog and Volker Schlöndorff. Elsaesser brings up political, historical, biographical and other perspectives and highlights the importance of state subsidies for the movement's existence. [2]
In the German Studies Review , Richard C. Helt described the book as a welcome update to the previous studies of the New German Cinema in English, all of which were from the early 1980s. [3] Publishers Weekly commended Elsaesser's analysis of how German culture and regional character played into the movement and wrote that the book's explanation of the film-subsidies system is an "equal triumph". [2]
New German Cinema: A History was awarded the Katherine Singer Kovács Prize in Film and Video Studies and the Jay Leyda Prize in 1990. [4]
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New German Cinema is a period in German cinema which lasted from 1962 to 1982, in which a new generation of directors emerged who, working with low budgets, and influenced by the French New Wave and Italian Neorealism, gained notice by producing a number of "small" motion pictures that caught the attention of art house audiences. These filmmakers included Percy Adlon, Harun Farocki, Rainer Werner Fassbinder, Peter Fleischmann, Werner Herzog, Alexander Kluge, Ulli Lommel, Wolfgang Petersen, Volker Schlöndorff, Helma Sanders-Brahms, Werner Schroeter, Hans-Jürgen Syberberg, Margarethe von Trotta and Wim Wenders. As a result of the attention they garnered, they were able to create better-financed productions which were backed by the big US studios. However, most of these larger films were commercial failures and the movement was heavily dependent on subsidies. By 1977, 80% of a budget for a typical German film was ensured by a subsidy.
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