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This thesis investigates certain characteristics of the New German Cinema from the viewpoint of its directors' political consciousness and aesthetic innovations. As postwar generation and influenced by the '68 student movement, the New German Cinema directors criticized their fathers' history Nazism, and rejected both the aesthetic of the Nazi films and commercially oriented productions by the established companies, 'Altbranche'.
Hence, these young German filmmakers should seek for new filmic languages and styles uncontaminated by the fascism in the more and more narrowed West-German film market. In search for new film forms, they not only experimented filmic languages in narrative, sound, and acting, but also combined Hollywood genres with Germanic subject matters, stories, and problems, so that those resulted in the diversity of styles. The second generation directors tried to create, 'Germanic genres' by either combining Hollywood genres with their national stories or transforming them satirically and ironically.
The most representative of the New German Cinema directors R. W. Fassbinder showed a 'socio-critical melodrama', inspirated particularly by Douglas Sirk's melodramas in the fifties (Angst essen Seele auf, Die Ehe der Maria Braun, Lili Marleen, and Die Sehnsucht der Veronika Voss). Volker Schlondorff used the criminal film form in Die verlorenene Ehre der Katharina Blum, which led to critical thinking on the right-wing press and police, while in the filming Die Blechttrommel, he converted the literary narrative and expressions into visual languages. In W. Herzog's films a fusion of German classics and American adventure films is remarkable, and in W. Wenders' road movies 'German texts' including mental problems of postwar German peoples and elements from American civilization, culture, and nature are often mingled.
The non-commercial 'author films' of the New German Cinema appealed mainly to the intellctual audiences, with whom the directors wanted to assent to their perspectives. The New German Cinema was a product subsidized by the liberal cultural policy of the Social Democratic Party (SPD), especially under the chancellor Willy Brandt 1969-76. From the late sixties in the western european countries the political New German Cinema was presented as evidence of the 'German conscience' for self-criticism.
Hence, these young German filmmakers should seek for new filmic languages and styles uncontaminated by the fascism in the more and more narrowed West-German film market. In search for new film forms, they not only experimented filmic languages in narrative, sound, and acting, but also combined Hollywood genres with Germanic subject matters, stories, and problems, so that those resulted in the diversity of styles. The second generation directors tried to create, 'Germanic genres' by either combining Hollywood genres with their national stories or transforming them satirically and ironically.
The most representative of the New German Cinema directors R. W. Fassbinder showed a 'socio-critical melodrama', inspirated particularly by Douglas Sirk's melodramas in the fifties (Angst essen Seele auf, Die Ehe der Maria Braun, Lili Marleen, and Die Sehnsucht der Veronika Voss). Volker Schlondorff used the criminal film form in Die verlorenene Ehre der Katharina Blum, which led to critical thinking on the right-wing press and police, while in the filming Die Blechttrommel, he converted the literary narrative and expressions into visual languages. In W. Herzog's films a fusion of German classics and American adventure films is remarkable, and in W. Wenders' road movies 'German texts' including mental problems of postwar German peoples and elements from American civilization, culture, and nature are often mingled.
The non-commercial 'author films' of the New German Cinema appealed mainly to the intellctual audiences, with whom the directors wanted to assent to their perspectives. The New German Cinema was a product subsidized by the liberal cultural policy of the Social Democratic Party (SPD), especially under the chancellor Willy Brandt 1969-76. From the late sixties in the western european countries the political New German Cinema was presented as evidence of the 'German conscience' for self-criticism.
목차
Ⅰ. 뉴저먼 시네마 운동의 역사적 배경
Ⅱ. 뉴저먼 시네마의 영화미학
Ⅲ. 뉴저먼 시네마의 수용과 평가
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ABSTRACT
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