After the Second World War, the country of Germany was in such complete disarray, both politically and economically, that the nation found itself near the same state it was before the war. The shame of the Nazi legacy, coupled with high rates of employment, the imposing Red Army Faction, and protests all challenged the capacity of Germany’s established bourgeois political instuitutions. The public sentiment surrounding German cinema in the years after the war pointed to a morbid industry as the movies that dominated Germany were gradually being deemed dull and boring, so there was room for change come the 1960’s. As a response to this unsatisfactory industry, three great directors – Rainer Warner Fassbender, Werner Herzog, and Wim Wenders – compiled the philosophies of twenty-six German filmmakers who accepted this ‘bigger picture’ and constructed the Oberhausen Manifesto. The Manifesto essentially incited cinematic reform throughout German society through its unofficial slogan, “Papa Kino ist tot” (“Papa’s cinema is dead”) to introduce a new vision on what filmmaking should aspire to become: an expose on the human condition that provides not only deeper insight into the essence of humanity, but also to impose a new film language that is not as devoid of a political or emotional voice.
Since its introduction in 1962, the Oberhausen Manifesto was essential in the resurgence of experimental German cinema; it effectively spearheaded the drive to provide a deeper message throughout films, as oppose to the antiquated, cut-and-dry methods of filmmaking in the 20 years preceding the movement. The group of young directors that perpetuated the Manifesto’s ideologies believed in tackling the contemporary issues of modern life – much like the French Nouvelle Vague (New Wave) movement of social critique that spread throughout Europe in the wake of World War II. Many historical cinephiles conclude that there is no prevailing style that encompassed the New German Cinema movement, but rather that the best way to appreciate the art form would be to simply watch each movie – be them by the aforementioned three directors or not – so that the massive breadth of the New German Cinema’s subject matter can be better understood.
Rainer Werner Fassbender is often labelled as the most influential director during this era of German film. With over 40 feature films, 20 plays, and a couple of television movies and short films, Fassbender was entirely unafraid of exploring the dark aspects of society – particularly the oppression of marginalized social groups and the secrecy of political dissidence – and was heralded as a visionary genius as a result. He was never afraid of the social implications of his actions as a result of his being an openly gay communist, so his works helped those who found themselves in similar situations within postwar Germany’s particularly xenophobic community. However, given such a prolific career, Fassbender died suddenly after a drug overdose in 1982, effectively robbing the movement of its paramount artist and its momentum as it began to fade into obscurity.
Although this new, meaningful culture in film received international acclaim throughout the late 1960’s into the early 1970’s, it was not found to be entirely economically successful. As the popularity of the New German Cinema movement skyrocketed worldwide, attendance to these motion pictures was seen to decrease, especially in West Germany. These films questioned tradition and criticized the ubiquitous bourgeois society while irreverently addressing the history of Germany, leading to relatively small audiences in attendance to their showings. As its commercial success waned, the West German film industry found itself, again, being supported by government subsidy, of which over 80% of West German films were subject to by 1977.
With the introduction of a new cinematic voice, coupled with a shift in societal priorities from the preservation of tradition to an emphasis on more contemporary cultural ideals. With their influence reaching the likes of some of the greatest directors in American cinema, the strive for the New German Cinema movement exemplified a collaborative effort by visionaries to constantly advance cinematic art style to fit the needs of the common man; a philosophy that not only allows different cultures to empathize and coexist, but also helps to advance political and physical harmony as well.
