May I ask a German Chancellor's policy to stimulate the development of Hollywood film and television?

In the third quarter, the early stage of German new films

In the early 1960s, the crisis of German films was mainly manifested as follows: the government stopped implementing economic insurance for films. Leading to the closure or merger of large companies (such as New Film Art Company, Alliance Film Company, Ufa-Hansa Film Company); The quality of films has declined, but the tax paid for entertainment films has not decreased; And the development and competition of television. During the period of 196 1 year, the jury of "German Film Awards" could not find anyone who deserved to be awarded "Best Film" and "Best Director Award". German films are at their lowest point both economically and artistically. In the mid-1980s, the annual output of German films was only 60, and the number of audiences dropped to about 654.38 billion.

I. "Oberhausen Declaration"

1962, Munich's new short film directors came to Oberhausen, the location of the International Short Film Festival, with a paper declaration. They attended the 8th International Film Festival and announced that they would "create a new German film". They expressed their dissatisfaction with American films and German commercial films in the 1960s. This declaration was put forward by 26 film directors, photographers and producers, most of whom started with making short films. Its main content is "the collapse of old-fashioned German films finally made our abandoned ideological position lose its economic foundation"; "Like other countries, German short films have become schools and experimental fields for feature films"; "The future of German films lies in the use of international languages"; "We are now.

To make a new German feature film, this kind of film needs freedom. We must break away from convention and overcome the commercialization of movies. We should go against the hobbies of some audiences and create new films in form and thought. We are prepared to take some risks economically "; The old movie is dead, and we believe in the new movie. Declarations like this mark a turning point in West German films. After that, they set up the German Youth Film Foundation, and planned to fund the creation of 10 feature film with 5 million marks. However, this suggestion has not been taken seriously. After a long period of fund-raising, the German Youth Film Committee was formally established on 1965, and in the following three years, it funded the creation of 20 films, of which the most investment was 300,000 marks. Young German film creators filmed internationally influential,

Works that are still meaningful today. These films entered the commercial distribution network from 1966.

Second, German youth films

This is the primary stage of the development of German new films, and one of the pioneers of German youth films is Jean-Marie. Straub. 1933 was born in Nice, France. 1958 came to Germany and made experimental films during his exile in Germany. All his works are made with his wives Danielle and Lucy. She has worked as a screenwriter, producer, director and editor for her husband's films. Straub's films pursue Brecht's style of enlightenment drama. He insisted on the truth of lines, original works and thoughts, and asked actors to "do less actions and read more lines". His works are often serious, solemn and delicate. Straub's masterpiece is No Reconciliation (1965), which is adapted from Heinrich B?ll's novel Billiards at 9: 30. Through the life of three generations, the film compares the postwar reality of Hitler's Germany and the Federal Republic of Germany. The actor's mouth is very literary, and the way the movie actor speaks,

Scene scheduling and picture composition are designed to make people experience reality, not face it. This style reflects the director's pursuit of a certain alienation effect according to Brecht's drama theory, and also reminds people of the famous German expressionist school in film history. Many film critics have noticed that this film is a "direct review of the Nazi era with historical flashbacks" and "a pioneering film with political realistic significance and novel style".

Alexander. Kruger was also one of the pioneers. Born in 1932, he works as a jurist, lawyer and writer. His masterpiece Farewell to Yesterday (1966). The film shows the hard life of Anita G, a prostitute who came to the Federal Republic of Germany from GDR. She was beaten and trampled everywhere. The story of the film is very jumping, and many recording techniques and comic performances are used. The good effect of the film lies not only in its narrative technique, but also in its sympathy for the fate of the main characters, its criticism of society, its thought-provoking irony and its specific content. This film, which shows indifference, backwardness, paternalism and abnormal psychology of those in power, won the Silver Lion Award at Venice Film Festival.

There are also some influential figures and works: Folco Schlondorf's Young terrace, filmed in 1966, won the International Film Critics Award at Cannes Film Festival. Wilger. The film "Signs of Life" filmed by Herzog in 1967 tells the story of how soldier Stezek went crazy on an idle island because of absurd circumstances. Herzog hopes to show "the power of the gloomy and incomprehensible Greek scenery", and this film can already see the director's consistent style and pursuit later; In Johannesburg, Shaf's film Tattoo tells the story of how a boy of 16 years old shot and killed his adoptive father. The simple final action represents the young people's empty talk and complacent protest against the traditional society. This film is very similar to the French new wave film. "It embodies the combination of new German films and new wave films: directors want to express what they have witnessed and experienced." After that, there will be: Peter Schamoni won the Silver Bear Award at the Berlin Film Festival, "Don't hunt foxes"; Ulrich Schamoni's stippling films "It" and "Year after Year"; Hello Zenft's Jogging; Stand on your head, madam, by Christian Rischel; Hans-Gource and Tom and Jerry of Pohland; Edgar reitz filmed the catering and so on.

Section 4 Four Directors of German New Films

In the mid-1970s, German new films entered the climax of creation, and the representatives in this period were Wilg Herzog, Folco Schlondorf, Lena Willner fassbinder and Wilg Wenders.

Wilger Whilfinger (also known as W.H. Stipitek)

If an artist is a "loner", then Herzog is the most representative figure in German new films. Like the "lonely" heroes in his movies, he is such a lonely artist himself. Herzog said:

Because I am alone, and I will continue to work alone, it is difficult to classify my films into a certain genre here.

1967, after he filmed the short film "Signs of Life" in Greece, he also filmed Fatamogana in the Sahara (1968). Shooting Zhu Ru Also Grown Up (1968); 1973 went to Peru and Brazil to shoot AQEL-The Wrath of God. This film describes the story of a monk named aqel who explored Huang Jinguo in 1590 by the legendary documentary method. It expresses the disintegration of a certain social order and the failure of fantasy in the face of reality. This is a "narrative poem of delusion and indulgence". 1976, he directed the film "Every Man for His Own, God and Everyone as Enemies", telling the story of Casper Howell, an abandoned child who suffered from social prejudice in the last century. He is mentally retarded and abnormal. This semi-recorded, semi-autobiographical film exposes the hypocrisy and selfishness of a society based on privilege and church system.

Doctrine. The protagonist's dream shot on 8mm film is very distinctive, becoming "the most powerful and unified film" in Herzog, and winning the grand prize of Cannes International Film Festival. 1978, he also remake Mona's Night in Nosferatu. 1982, Herzog directed Fitz calado. The hero dreamed of building an opera house in the forest in the upper reaches of the Amazon River, so that the great Karoo could sing. He started his journey and moved his boat across the mountains with the help of scholars. The film stirs up the artist's more obsessed and crazy psychological state in the magnificent natural scenery and simple folk customs. Herzog said, "My film was born of a strong infatuation ..." The film won the best director award at Cannes International Film Festival.

Loneliness and madness, exotic natural scenery have become the consistent themes of Herzog's films. In Herzog's films, he is keen to depict marginal and lonely characters and explore their "crazy infatuation" mentality, which is similar to the French "Left Bank School" films. His films are full of romance, strong sense of modeling and touching classical music. His film and television dramas are slightly inferior, just like Fitz calado walking on a boat in the river, putting it away without receiving it, which weakens the tension of the drama and makes the audience feel dull, procrastinating and sometimes obscure.

Foreman Schlondorf,

In his early years, he studied political science in Paris, and then entered the Paris Higher Film Academy to study film production. He is the assistant director of Mahler, Rene and Melville, and also started his creative career from short films. 1966, his debut novel Young tellez heralded the awakening of German new films, which was written by his later wife and main partner Trotha.

1967 The success of "The Fierce Quarrel" made him sign a six-year contract with the American Columbia Company and start shooting historical films. 197 1 The Outbreak of the Poor in Kumbach originated from folklore, telling the story of a migrant worker robbing an armored car, expressing the feelings of the lower class and criticizing the society. "It is a contribution to the development of local films and has new characteristics." After 1972, he turned from history to the present, and made a series of films that made an incisive analysis of the current situation of German society, from the narrow concept of 1960 "author film" to a larger audience level.

1975 The Shamed Katarina Bloom describes a young woman who took in an anarchist and eventually became a victim of public opinion. 1976 filming "The Death Penalty", adapted from the original work by Yusner. In autumn in Germany (1978), he was "more skilled". The film Tin Drum from 65438 to 0978 strongly criticized the history and reality of Germany through the story of a child who didn't want to grow up. In 1979, this epic scroll tied with Apocalypse Now for the Palme d 'Or at Cannes International Film Festival, and won the American Oscar for Best Foreign Language Film in 1980.

He is over 80 and still rich; Forgery (198 1 year), swan love (1983), the story of a nanny (1989) and so on. Schlondorf is good at directing art films. He is "the person who expresses the most modern film language among all directors", and he is also a person who cares about the market and communicates with the audience. Schlondorf pays attention to movie scripts and has a profound literary foundation. His representative work, Tin Drum, describes the abnormal psychology of characters under social pressure and relies heavily on literary works, which makes him very close to French "Left Bank School" filmmakers and works. However, his attention to the basic skills of film, his concern for the audience and his many cooperations with movie stars make him obviously different from these directors and others in German new films. At present, he mainly makes movies in the United States, and these "super productions have weakened his artistic talent".

Lena Wells fassbinder

Fassbinder, the prolific genius of German new films, is a generalist. He used to be a journalist, playwright and drama director.

In 1970s, he set up his own company, and turned from stage to film, creating a series of characters on the screen. From 1969 to 1976, he directed 29 feature films and a 5-episode film series.

1969, love is colder than death, which once sensationalized the Berlin Film Festival and "showed a useless poor man". The mobile phone photography in the film has different reactions. This is his first work. 1970 beware of the saints putting the joys and sorrows of drama rehearsal on the screen.

197 1, fassbinder tells the story of a vegetable merchant who died after drinking because he could not meet his mother's requirements. The film only took l 1 working day, full of stylization and stage art traces. Fassbinder's creative style reached its peak, and the theme of homosexuality first appeared in his films. 1972, fassbinder finished the film The Bitter Tears of petra von Kant in only 10 days. 1973 directed the film "The Nightmare of Devouring the Soul". A 60-year-old woman married a young Moroccan foreign worker. Although she can overcome racial prejudice in society, she can't overcome the racial differences they face. 1975 The film "Power of Freedom" once again shows fassbinder's extreme theme. A gay man was used and then abandoned and died in the street. Chinese Roulette directed by 1977, Mariah Brown's Marriage introduced by 1978, Germany in Autumn co-directed by 1978 and Schlondorf, and another anti-fascist film Mary Lian. 1981April When fassbinder interviewed him in Le Monde, he said, "If life permits, I hope to make 12 films reflecting different periods in Germany; The first theme describing the Third Reich was Lily of Ma Lian. But not the last one ... I'm looking for my place in the history of my country. Why am I German? " Fassbinder's statement reflects the awakening and responsibility of German new film artists. From 65438 to 0982, he died at the age of 36 after directing Veronica Firth's Desire and the highly stylized film Claire the Sailor.

The film language of most of fassbinder's films is not original, but adopts the American "Hollywood" film mode he worships, which is a traditional melodrama. Among them, the biggest feature is his sincerity in art and outspoken criticism of society. He dared to put Germany's heavy guilt on the screen, and he also tore off his coat and dissected all kinds of abnormal desires and dark psychology. Fassbinder's aesthetic pursuit and creative tendency are very close to the "Handicraft School" in the French New Wave period, and the "Utopia Thought" and "Pessimism and Despair" in his films are as negative as the Handicraft School. His films sometimes tend to be "simplistic" and his social analysis is sometimes "subjective and superficial".

However, among German new film artists, his sincerity is the most unforgettable.

Wenders ·WIM

This college student majoring in medicine and philosophy failed in the entrance examination of Paris Higher Film Academy. He taught himself by watching a large number of films in the Paris Film Archive.

197 1 The first feature film "Summer in the City" directed by Wenders in is "The History of a Crime Story", in which prisoners run away because they are afraid of the past. He also filmed the unpractical "Goalkeeper's Anxiety during Free Throw"; This style is also reflected in the works of 1974 Alice Roaming in the City. 1976, he directed The Course of Time. 1977, American actor Deni Hope starred in his magical film American Friends.

1980, he put the biographical story of American director Nicolas Rey on the screen. The film describes the friendship and troubles between the film mechanic and his friend Camiz in the endless road trip. This is a typical European road film. 1984 another European-style road film "Paris, Texas" by Kim Brownyan, who resigned from the Cannes Film Festival, marks Wenders's "peak of Americanization tendency" and shows the loneliness and isolation between people. From 65438 to 0985, he made a documentary about his idol director Yasujiro, A Journey to Tokyo. From 65438 to 0987, a surreal work appeared over Berlin. Migration and travel are the usual themes of Wenders's films. Montage is basically excluded from his film language modification, forming a "frank and calm" style without editing actions and scenes.

The decline of German new film movement;

Like the new wave films, the new generation of German filmmakers oppose the commercialization of films and advocate "author films" and "art films". German new films have many similarities with the new wave in aesthetic pursuit and production methods. Hundreds of directors filmed nearly cadre films from the mid-1960s to the mid-1970s, forming a continuous creative climax and a huge and enduring film movement. Coppola, the director of the American New Hollywood Film Movement, made the following comments on German films in the prosperous period: "The past 10 years belonged to German new films, and West Germany is the only film country that has made a difference now."

However, in the middle and late 1970s, the economic crisis had already shown the decline of German films and the film market was depressed. The domestic screening income of German films can hardly cover the cost of plate making. According to statistics, its revenue only accounts for 10% of the total movie revenue, and 1977 accounts for 4%. The dependence of new films on funding groups makes the film art subject to these groups and TV editorial departments, and also to the political attitudes of these departments. "German Youth Film Bureau" was dissolved due to insufficient funds 1976.

1977, fassbinder also issued a statement that he would only film abroad in the future, which caused a sensation and caused people's discussion. Some critics believe that "although it is understandable that film directors are dissatisfied with dysfunctional groups and lack of critical support, it is doubtful whether the conditions for filming in other European countries or countries outside Europe are better than those in the Federal Republic of Germany". Fassbinder died in the early 1980s, and the other three directors all made films abroad.

The decline in the creation of the main directors of the new German film movement abroad proves the concern of critics. In the 1990s, the German film market was completely occupied by Hollywood, and the national films with avant-garde expressionism, German indoor drama and critical realism traditions were dying out.