  new german cinema () is a period in german cinema which lasted from the late 1960s into the 1980s. it saw the emergence of a new generation of directors. working with low budgets, and influenced by the french new wave, such directors as rainer werner fassbinder, werner herzog, alexander kluge, volker schlÃ¶ndorff, helma sanders-brahms, hans-jÃ¼rgen syberberg, margarethe von trotta and wim wenders made names for themselves and produced a number of 'small' motion pictures that caught the attention of art house audiences, and enabled these directors (particularly wenders and schlÃ¶ndorff) to create better-financed productions which were backed by the big us studios. their success sparked a renaissance in german film and encouraged other german filmmakers to make quality movies. ==origins of new german cinema== as a reaction to the artistic and economic stagnation of german cinema, a group of young filmmakers issued the oberhausen manifesto on 28 february 1962. this call to arms, which included alexander kluge, edgar reitz, peter schamoni, haro senft and franz josef spieker among its signatories, provocatively declared "der alte film ist tot. wir glauben an den neuen" ("the old cinema is dead. we believe in the new cinema"). other younger filmmakers allied themselves to this oberhausen group, among them volker schlÃ¶ndorff, werner herzog, jean-marie straub, wim wenders, hans-jÃ¼rgen syberberg and rainer werner fassbinder in their rejection of the existing german film industry and their determination to build a new industry founded on artistic excellence rather than commercial dictates. despite the foundation of the kuratorium junger deutscher film (young german film committee) in 1965, set up under the auspices of the federal ministry of the interior to support new german films financially, the directors of this new german cinema, who rejected co-operation with the existing film industry, were consequently often dependent on money from television. young filmmakers had the opportunity to test their mettle in such programmes as the stand-alone drama and documentary series das kleine fernsehspiel (the little tv play) or the television films of the crime series tatort. however, the broadcasters sought tv premieres for the films which they had supported financially, with t
Cinema_of_Germany New_Wave_in_cinema