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References in periodicals archive ?
31) Maetzig and other intellectuals had argued about precisely these points in the summer of 1947, several months before Ehe im Schatten premiered, and the consensus of the arguments at the film conference in Berlin and elsewhere was clearly that ordinary German audiences and their aesthetic tastes could not simply be ignored in the creation of the new German cinema.
Here was a filmmaker who arose out of the Munich scene in the 1960s, made some well-regarded features about losers and lowlifes (beyond Deadlock, his key titles are jimmy-Orpheus [1966], Supermarkt [1974], and White Star [1983]), and refused to align himself with the New German Cinema.
Scholars like Eric Rentschler have self-consciously affirmed the critical art cinema of the 1970s ("From New German Cinema to the Post-Wall Cinema of Consensus"), while Prager and Fisher in their introduction to The Collapse of the Conventional insist on criticizing the maintenance of this dichotomy, particularly where it touches on notions of national literary tradition (8-9).
Thus in Stammheim, The Baader Meinhof Complex has a direct antecedent in the earlier generation of left-wing political films, part of the cinematic tradition of the New German Cinema.
Paul Cooke interprets Der Untergang finally as a deliberately commercial mixture of the post-war view of Germans as victims with the critical agenda of the New German Cinema of the 1970s.
This in turn renders more porous the 'German' aspect of the New German Cinema, in retrospect.
As has been the case with similar movements associated with other national cinemas (such as the French New Wave, New German Cinema and New Latin American Cinema) the emergence of New Arab Cinema remains largely (but not exclusively) limited in the breadth of its influence on Arab audiences.
Julia Knight's Images of a Generation demonstrates this approach by concentrating on a facet of German, and world, cinema history: the New German Cinema.
The phenomenon is considered in three forms: (1) historical layering, as in Jane Campion's Portrait of a Lady and Kieslowski's Three Colours: Blue; (2) memory and nostalgia, especially in Benigni's Life is Beautiful, and in the possibilities available to classical music in European compared with US films; (3) musical memory in a given culture, from It Happened Here (Brownlow/ Mollo) through to various directors of the New German Cinema.
Rentschler ("From new German cinema to post-wall cinema of consensus") focuses on the significant change that occurred within 20th century German cinema.
Like Cannes, it's organized into separate official sections-a competition, the Panorama and Kinderfest -- and unofficial sections -- the Forum and New German Cinema.
7) As Julia Knight explains in her book Women and the New German Cinema, significant federal funding allowed New German Cinema to flourish in the 1970s and early 1980s, which also created a generation of feminist filmmakers.
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