\t\t\t\tTable of Contents<\/p>\n
\t\t\t\tTable of Contents<\/p>\n
Ask the Chatbot<\/p>\n
\t\t\t\t\t\t\t(Show\u00a0more)<\/p>\n
\t\t\t\t\t\t\t(Show\u00a0more)<\/p>\n
Germany\u2019s catastrophic defeat in World War II<\/a> and the subsequent partitioning of the country virtually destroyed its film industry, which had already been corrupted by the Nazis. Rebuilt during the 1950s, the West German industry became the fifth largest producer in the world, but the majority of its output consisted of low-quality Heimatfilme (\u201chomeland films\u201d) for the domestic market. When this market collapsed in the 1960s because of changing demographic<\/a> patterns and the diffusion<\/a> of television, the industry was forced to turn to the federal government for subsidies. In recognition of the crisis, 26 writers and filmmakers at the Oberhausen film festival<\/a> in 1962 drafted a manifesto<\/a> proclaiming the death of German cinema and demanding the establishment of a junger deutscher Film, a \u201cyoung German cinema.\u201d The members of this Oberhausen group became the founders of Das Neue Kino, or the New German Cinema<\/a>, which was brought into being over the next decade through the establishment of the Kuratorium Junger Deutscher Film (1965; Young German Film Board, a grant agency with funding drawn from the cultural budgets of the federal states), the Filmf\u00f6rderungsanstalt, or FFA (Film Subsidies Board, which generated production funds by levying a federal tax in part on theater tickets), and the independent distributing company Filmverlag der Autoren (1971; Authors\u2019 Film-Publishing Group), with additional funding from the two West German television networks.<\/p>\n These institutions made it possible for a new generation of German filmmakers to produce their first features and established a vital new cinema for West Germany<\/a> that attempted to examine the nation\u2019s unbew\u00e4ltige Vergangenheit, or \u201cunassimilated past.\u201d The first such films, which were deeply influenced by the New Wave, especially by the work of Godard, included Volker Schl\u00f6ndorff<\/a>\u2019s Der junge T\u00f6rless (1966; Young Torless) and Alexander Kluge\u2019s Die Artisten in der Zirkuskuppel: ratlos (1968; The Artists Under the Big Top: Disoriented). In the 1970s, however, three major figures emerged as leaders of the movement\u2014Rainer Werner Fassbinder<\/a>, Werner Herzog<\/a>, and Wim Wenders<\/a>.<\/p>\n Rainer Werner Fassbinder<\/a>German filmmaker Rainer Werner Fassbinder acting in Faustrecht der Freiheit (1975; Fox and His Friends), which he also directed and cowrote.(more)<\/p>\n Fassbinder was the most prolific<\/a>, having made more than 40 features before he died in 1982. His films are also the most flamboyant<\/a>. Nearly all of them take the form of extreme melodrama, ending in murder or suicide\u2014Warum l\u00e4uft Herr R. amok? (1969; Why Does Herr R. Run Amok?), Die bitteren Tr\u00e4nen der Petra von Kant (1972; The Bitter Tears of Petra von Kant), and Angst essen Seele auf (1973; Ali: Fear Eats the Soul)\u2014and several are consciously focused on German wartime and postwar society (Die Ehe der Maria Braun [The Marriage of Maria Braun], 1979; Lola, 1981; Veronika Voss, 1982).<\/p>\n Herzog<\/a>\u2019s films tended more toward the mystical and the spiritual than the social, although there is nearly always some contemporary referent in his work\u2014the image of idealism turned to barbarism<\/a> in Aguirre, der Zorn Gottes (1972; Aguirre, the Wrath of God); the hopeless inability of science<\/a> to address the human condition in Jeder f\u00fcr sich und Gott gegen alle (1974; Every Man for Himself and God Against All, or The Enigma of Kaspar Hauser); the inherently destructive nature of technology in Herz aus Glas (1977; Heart of Glass); the incomprehensible nature of pestilence in his remake of Murnau\u2019s Nosferatu (1979).<\/p>\n Wenders<\/a>, on the other hand, was profoundly postmodern in his contemplation of alienation through spatial metaphor<\/a>. In such works of existential<\/a> questing as Die Angst des Tormanns beim Elfmeter (1971; The Goalie\u2019s Anxiety at the Penalty Kick) and Im Lauf der Zeit (1976; \u201cIn the Course of Time\u201d; Kings of the Road), he addressed the universal phenomena of dislocation and rootlessness that afflict modern society.<\/p>\n The state subsidy system enabled hundreds of filmmakers, including many women (e.g., Margarethe von Trotta) and minorities, to participate in the New German Cinema. With the exception of the work of Fassbinder, Herzog, and Wenders, however, the New German Cinema did not find a large audience outside West Germany. Yet in terms of exploring and extending the audio-language system of film, it was to the 1970s and \u201980s very much what the New Wave was to the \u201960s, and its influence was widely felt.<\/p>\n By the reunification of Germany in 1990, a national identity had still not been forged in any of the various arts. Several outstanding German directors and production artists did emerge, but most of them achieved their greatest success in Hollywood. Roland Emmerich (Independence Day, 1996; The Patriot, 2000) proved to be a skillful practitioner of the action-adventure genre<\/a>, and Wolfgang Petersen, who received international acclaim for Das Boot (1982), earned a reputation for tense thrillers (In the Line of Fire, 1993) and unrelenting visual spectacles (The Perfect Storm, 2000). German cinematographers (Michael Ballhaus, Karl Walter Lindenlaub) and composers (Hans Zimmer, Christopher Franke) were also among the more notable artisans working in Hollywood films at the turn of the 21st century.<\/p>\n The development of an indigenous<\/a> film culture<\/a> in Africa occurred at different moments in the history of the continent. The various timelines are related to the political, social, and economic situations in each country and to the varying effects of colonialism on the continent. Only Egypt had a truly active film industry for the first half of the 20th century; the development of cinema elsewhere on the continent was largely the result of individual efforts. One such example is Paul Soumanou Vieyra, the first African graduate of the French film school Institut des Hautes \u00c9tudes Cin\u00e9, who joined with friends to produce the short film Afrique sur Seine (1955), considered the first fiction film by black Africans.<\/p>\n Some countries, such as Morocco, did not develop a strong national cinema; others, such as Algeria and Tunisia, nationalized all or parts of their film industries. Several African nations joined the F\u00e9d\u00e9ration Pan-Africaine des Cin\u00e9astes (FEPACI; \u201cFederation of Pan-African Filmmakers\u201d), formed in 1969 to oversee the political and financial problems of the film industries throughout the continent.<\/p>\n As the 20th century drew to a close, many filmmakers and scholars began to examine the questions of, first, what constitutes<\/a> an \u201cAfrican film\u201d and, second, how film can best deal with the diaspora<\/a> of the African people. On one hand, African filmmakers had to acknowledge and learn from the conventions of Western film. On the other, they wanted to highlight and preserve aspects of African culture that had been threatened by Western colonialism<\/a>. As part of this search to define the goals of African cinema, African filmmakers often used the medium to explore the social issues plaguing postcolonial Africa. Directors such as Adama Drabo (Ta Dona [Fire], 1991) and Moufida Tlatli (Les Silences du palais [The Silences of the Palace], 1994) explored such matters as education, the environment<\/a>, and women\u2019s rights and suggested that traditional approaches to such issues had to be adapted to the realities of contemporary Africa. Aspects of these realities were examined by such directors as Tsitsi Dangarembga (Everyone\u2019s Child, 1996) and Salem Mekuria (Ye Wonz Maibel [Deluge], 1995), who dealt with the AIDS crisis and political violence, respectively. Colonization itself was examined by such directors as Bassek ba Kobhio, whose satiric study of Albert Schweitzer<\/a>, Le Grand Blanc de Lambar\u00e9n\u00e9 (1995; The Great White Man of Lambar\u00e9n\u00e9), shows how colonialism damaged both the colonizer and the colonized.<\/p>\n Although more than half of Japan\u2019s theaters were destroyed by U.S. bombing during World War II, most of its studio facilities were left intact. Japan, therefore, continued to produce films in quantity during the Allied occupation (1945\u201352). Many traditional Japanese subjects were forbidden by the Allied Command as promoting feudalism, however, including all films classified as jidai-geki (period dramas). Nevertheless, the film that first brought Japanese cinema to international attention belonged to that category: Kurosawa Akira<\/a>\u2019s Rashomon<\/a> (1950), which won the Golden Lion at the 1951 Venice film festival. The film, a meditation on the nature of truth set in the medieval<\/a> past, marked the beginning of the Japanese cinema\u2019s unprecedented renaissance . During this period, new export markets opened in the West, and Japanese filmmakers produced some of their finest work, winning festival awards throughout the world. Kurosawa, who was already well known in his homeland for a number of wartime and postwar genre films, became the most famous Japanese director in the West on the strength of his masterful samurai epics\u2014Shichinin no samurai (1954; Seven Samurai<\/a>), Kumonosu-jo (1957; Throne of Blood), Kakushi toride no san akunin (1958; The Hidden Fortress), Yojimbo<\/a> (1961), and Sanjuro (1962)\u2014which raised the chambara, or \u201csword-fight,\u201d film to the status of art. He made films in other genres<\/a>, including literary adaptations<\/a>, gendai-geki (modern dramas), gangster films, and period films that cannot be categorized at all (Akahige [Red Beard], 1965; Dersu Uzala, 1975); but Kurosawa always returned to the samurai form for his most profound statements about life and art (Kagemusha [The Shadow Warrior], 1980; Ran, 1985).<\/p>\n Two other established directors who produced their greatest films in the postwar period were Mizoguchi Kenji<\/a> and Ozu Yasujir\u014d. Both had begun their careers in the silent era and were more traditionally Japanese in style and content than Kurosawa. Mizoguchi\u2019s films, whether period (Sansho dayu [Sansho the Bailiff], 1954) or contemporary (Yoru no onnatachi [Women of the Night], 1948), were frequently critiques<\/a> of feudalism that focused on the condition of women within the social order. His greatest postwar films were Saikaku ichidai onna (1952; The Life of Oharu), the biography of a 17th-century courtesan, and Ugetsu<\/a> (1953), the story of two men who abandon their wives for fame and glory during the 16th-century civil wars. Both were masterworks that clearly demonstrated Mizoguchi\u2019s expressive use of luminous decor, extended long takes, and deep-focus composition<\/a>. As one of the great mise-en-sc\u00e8ne directors, Mizoguchi can be compared to Murnau, Oph\u00fcls, and Welles, but his transcendental visual style makes him unique in the history of cinema.<\/p>\n Ozu Yasujir\u014d<\/a> too was a stylist, but the majority of his 54 films were shomin-geki, a variety of gendai film dealing with the lives of lower-middle-class families (Tokyo monogatari [Tokyo Story], 1953; Higanbana [Equinox Flower], 1958; Ukigusa [Floating Weeds], 1959). They were all very much alike and, in a sense, were all part of a single large film whose subject was the ordinary lives of ordinary people and the sacred beauty therein. Ozu\u2019s minimalist style\u2014originating in both Zen Buddhist aesthetics<\/a> and the fact that most of his films were shot within the confines of a typical Japanese house\u2014was based on his use of low-angle long takes in which the camera<\/a> is positioned about three feet (one meter) off the floor at the eye level of a person seated on a tatami mat. This practice led Ozu to an especially imaginative use of offscreen space and \u201cempty scenes.\u201d<\/p>\n The second postwar generation of Japanese filmmakers was mainly composed of Kobayashi Masaki<\/a>, Ichikawa Kon<\/a>, and Shindo Kaneto. Kobayashi is best known for Ningen no joken (1959\u201361; The Human Condition<\/a>), his three-part antiwar epic set during Japan\u2019s brutal occupation of Manchuria, and the beautiful ghost film Kwaidan (1964). Ichikawa\u2019s major works were the pacifist<\/a> films Biruma no tategoto (1956; The Burmese Harp) and Nobi (1959; Fires on the Plain). Shindo is best known for his poetic semidocumentary<\/a> Hadaka no shima (1960; The Island) and the bizarre, folkloristic Onibaba (1964).<\/p>\n The third generation of postwar directors was most active during the 1960s and \u201970s. The group was deeply influenced by the French New Wave and included Teshigahara Hiroshi (Suna no onna [Woman in the Dunes], 1964), Masumura Yasuzo (Akai Tenshi [The Red Angel], 1965), Imamura Shohei (Jinruigako nyumon [The Pornographers], 1966), and Oshima Nagisa (Ai no corrida [In the Realm of the Senses], 1976). In the mid-1960s, however, competition from multiple-channel color television and from American distributors forced the Japanese film industry into economic decline. A decade later, two major studios were bankrupt, and film production was increasingly dominated by two domestic exploitation genres: the yakuza-eiga, or contemporary<\/a> urban gangster film, and the semipornographic eroducti on film, which mixed sex and sadism. During the 1980s and \u201990s, Japan continued to produce the highest annual volume of films of any country in the world, but the studios remained in decline, and most serious productions, such as Kurosawa\u2019s Kagemusha, were funded by foreign interests. At the turn of the 21st century, funding for films remained low, although the market for films was the greatest ever. This situation led to the mass production<\/a> of low-budget films, as well as to the increased popularity of amateur and experimental films.<\/p>\n China<\/a>, Taiwan, and Korea Crouching Tiger, Hidden Dragon<\/a>Zhang Ziyi (left) and Chang Chen in the film Wo hu zang long (2000; Crouching Tiger, Hidden Dragon), directed by Ang Lee.(more)<\/p>\n Other Asian nations have had spotty cinematic histories, although most developed strong traditions during the late 20th century. The film industries of China, Taiwan<\/a>, and Korea were marked by government restrictions for most of the 20th century, and the majority of their output consisted of propaganda<\/a> films. The loosening of many restrictions in the 1980s and \u201990s resulted in a new wave of Asian directors who attained worldwide prominence. At the turn of the 21st century, China\u2019s \u201cFifth Generation Cinema\u201d was known for such outstanding young directors as Zhang Yimou, who specialized in tales of political oppression and sexual repression. Korea\u2019s cinematic history is difficult to assess, because virtually no films made prior to World War II exist, but works produced during the 1950s and \u201960s\u2014the \u201cgolden age\u201d of Korean cinema\u2014gained a strong international reputation. The most successful Taiwanese directors of the late 20th century were Ang Lee<\/a>, who directed films ranging from American morality<\/a> tales such as The Ice Storm (1997) to the lavish martial-arts fantasy Wo hu zang long (2000; Crouching Tiger, Hidden Dragon); and Hou Hsiao-hsien<\/a>, who was best known for his sensitive family dramas (Hao nan hao nu [Good Men, Good Women], 1995).<\/p>\n","protected":false},"excerpt":{"rendered":"Table of Contents Table of Contents Ask the Chatbot Also called: history of the motion picture (Show\u00a0more) Related…\n","protected":false},"author":2,"featured_media":31544,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5310],"tags":[3907,3906,3905,3904,2000,299,1824,18692],"class_list":{"0":"post-31543","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-germany","8":"tag-article","9":"tag-britannica","10":"tag-encyclopeadia","11":"tag-encyclopedia","12":"tag-eu","13":"tag-europe","14":"tag-germany","15":"tag-history-of-film"},"share_on_mastodon":{"url":"https:\/\/pubeurope.com\/@uk\/114361761971350470","error":""},"_links":{"self":[{"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/posts\/31543","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/comments?post=31543"}],"version-history":[{"count":0,"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/posts\/31543\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/media\/31544"}],"wp:attachment":[{"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/media?parent=31543"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/categories?post=31543"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/tags?post=31543"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}