| Summary: | 碩士 === 淡江大學 === 歐洲研究所 === 89 === This essay deals with "New German Cinema" mainly from the perspective of film history research, and from a standpoint of culture research summarizes how "New German Cinema" became what Theodor W. Adorno called the visualization of "Culture Industry". Here we view "New German Cinema" as a film culture phenomenon, which covers not merely filmmakers themselves and the forms and styles of their works; thus we also want to find out the elements affecting their development, and use these elements to explain the rise and fall of this phenomenon. This essay''s research method is mainly based on "Contextual study" and also looks for help from "Textual study". The first chapter begins with the formation of "New German Cinema", then enters into the new cinema era''s various film types, which are characterized as "Political Modernism Films", "Homeland Films" (Heimat Film) and "Author Films" (Autorenfilm), the three big trends. The second chapter focuses on the special inner, outer context of "New German Cinema", and based on which and from the angles of whose interactions with governmental policies, TV media, local and oversea audiences, analyzes the particular film environment and crucial changes of "New German Cinema". Chapter three chooses the three most representative "New German Cinema" directors: Rainer Werner Fassbinder, Werner Herzog and Wim Wenders as the foundation and by introducing their filmmaking adventures, indirectly presents the three differentiated models of "New German Cinema" evolution. Also based on the role and importance, other "New German Cinema" directors will be respectively introduced. The last section of this chapter based on "New German Cinema" era''s productions, induces the underneath shared characteristics of "New German Cinema". Combined with the culture criticism theory of "Frankfurt School", chapter four examines the development of "New German Cinema" based on the concept of "Culture Industry", and as a result, finds out the reasons of the rise and fall of "New German Cinema" to reach the final conclusion.
|
|---|
