The German Film Industry - From Classic Masterpieces to Contemporary Hits

Before World War I, the film industry was highly fragmented. With the establishment of Universum Film in 1917 began a process of nationalization and concentration within its ranks; its leadership sought to produce patriotic "homeland" films which rivalled those produced by Allied powers regarding propaganda and denunciation of enemy.

Government laws prohibited the work of directors who did not meet government approval in terms of politics or personal conduct.

Classic Masterpieces

Before the Nazis came into power and destroyed it with white race propaganda films and Hitler Youth propaganda, Germany boasted an extensive and vibrant film industry. Babelsberg Studio near Berlin served as an early forerunner of Hollywood production company; during this period numerous technological innovations, including Agfacolor use, sound synchronization, and film theory studies were established as academic disciplines with Rudolf Arnheim and Siegfried Kracauer making significant contributions in this regard.

After World War II, Germany rebuilt its film industry and by the end of the decade was one of the top five film producers worldwide. However, due to a limited domestic market and lack of aesthetic daring within Heimatfilm films (homeland movies), which focused on morally simplistic depictions of family life set against rural backgrounds - they quickly declined in production quality as time progressed.

Television was an immediate game-changer for cinema attendance during the 1950s; nonetheless, movie-going was still an immensely popular pastime by 1960. Filmmakers took advantage of this trend and produced affordable but entertaining cinematic offerings to meet demand from moviegoers.

As the 1970s progressed, a new generation of German directors emerged to international recognition. Films directed by Kluge (Abschied von Gestern), Herzog (Aguirre, the Wrath of God), Fassbinder (Fear Eats the Soul and Maria Braun Marriage) and Wenders (Paris Texas) soon received widespread acceptance both domestically and abroad.

In the 1980s, New German Cinema started to lose momentum, in part due to a high proportion of emigrant members from other countries who brought with them different film movements and styles. Still, directors like Jorg Buttgereit, Hark Bohm and Oliver Herbrich found favor thanks to arthouse cinemas (Programmkinos) established during the 70s; television programming and funding cutbacks further contributed to its decline.

Contemporary Hits

German Film Industry is currently experiencing an artistic revival. Filmmakers such as Tom Tykwer, Fatih Akin and Florian Henckel von Donnersmarck are making films that challenge cinematic conventions while exploring fresh themes. Since 2003, Deutsche Filmakademie provides a forum for native filmmakers to enhance the reputation of German Cinema while providing filmmaking education throughout Germany and promoting it internationally.

Sound was a significant moment in German film industry during the 1920s, sparking a production resurgence and driving development of national film culture. Unfortunately, due to political climate constraints at that time, Germany became inhospitable for film business - many directors left for Hollywood instead, leaving an impressive legacy of silent films behind them.

Expressionism was widely practiced during the 1930s. Artists like Lon Chaney and Fritz Lang incorporated its techniques into their films, while during Nazi era propaganda ministries utilized this movement to support fascism and anti-Semitism; directors such as Leni Riefenstahl became famous by producing films glorifying Nazi rule.

After World War II, UFA holdings were taken over by Allied forces and licensed for film production given out among smaller companies - effectively ending Germany's filmmaking monopoly.

At this point in German history, new directors could make an impactful statement with their films, often receiving critical acclaim. Rainer Werner Fassbinder, Volker Schlondorff and Werner Herzog's movies helped to restore Germany as an internationally respected moviemaking country while works from postwar novelists Gunter Grass and Heinrich Boll were adapted into movies, and women directors Margarethe von Trotta, Helma Sanders-Brahms and Doris Dorrie also began to establish themselves.

Today, Germany is an epicenter for international film production and distribution. Major studios include Babelsberg, Bavaria and Constantin Film; government offers incentives through DFFF (Deutsches Filmfonds) which offers 50 million euros annually; this funding will depend on what type of production takes place and must be applied for prior to starting production.

Feature Films

German feature films made up roughly two thirds of box office sales in 2013. This industry received support from various programs on a federal state, national, and EU level - such as FFA - Federal Film Board of Austria; Film Fund; Commissioner for Culture and the Media; Film Fund (FFA); as well as private investors who played an essential role.

In 1917, Germany initiated a process of concentration and partial nationalisation of their cinema industry with the establishment of Universum Film AG; this attempt at competing with Allied powers' film industries came as a response to their use of new medium in propaganda efforts and denigration of enemies; for example in Vaterland films produced by allies during this war.

East German directors quickly set to work after World War II to address the legacy of Nazi rule through film. Collectively known as Trummerfilms (literally "rubble films"), these movies reflect daily reality in an impoverished country; an initial response to Holocaust events; and hopes for better days ahead.

Among the key genres of this era was Heimatfilm (homeland film), in which morally simplistic tales about family and nation played out against picturesque rural settings. Directors at this time didn't aspire to high art but rather sought to entertain while actively engaging with social issues.

Since 1989 and the dismantlement of East Germany (GDR), independent cinemas in Germany have enabled a small group of filmmakers to produce films with more critical themes that challenged conventions within German film industry. Directors such as Herbert Achternbusch, Hark Bohm, Dominik Graf, Rosa von Praunheim and Christoph Schlingensief all created works in this vein while programme cinemas (Programmkinos) offered space for unconventional works by Jorg Buttgereit amongst many others.

Short Films

Prior to the Nazis wreaking havoc with white race propaganda film bullshit and other crap, Germany's movie industry was one of the leading producers of short films worldwide. Shorts were integral parts of cinema's evolution - providing an outlet for experimentation that might otherwise be too costly or risky for full-length feature film production - as well as serving as an incubator for such legendary directors as Werner Herzog, Rainer Werner Fassbinder and Wim Wenders among many others.

Short films typically focus on fleeting events or topics with a limited lifespan. This reflects the economics of film production: investors will likely not invest a great deal into something which only lasts weeks at most; this was especially evident within Germany during its early sound film era.

Talkies brought with them a dramatic decline in German short filmmaking as many directors who had defined silent cinema began making the leap to talkies and Hollywood. This trend was further compounded by Hitler's consolidation of power; film critics were silenced and filmmakers barred from joining Reichsfachschaft (union for craftspeople in entertainment industry). Key figures like Fred Zinnemann and Fritz Lang left Germany due to this persecution - leaving their films as crucial examples of German neorealist style that inspired Italian neorealism.

Even during its period of decline, short film industry innovated significantly. Walther Ruttmann's groundbreaking experiments with light and shadow, commercials with abstract animation art providing concrete messages, as well as its focus on social issues like everyday life led to films like Roberto Rossellini's Neorealist Trilogy or German Year Zero being made.

Postwar Germany witnessed an exciting renaissance of cinema, led by directors such as Werner Herzog, Rainer Werner Fassbinder and Wim Wenders who had significant contributions to modern world cinema. Additionally, talented actors like Klaus Kinski, Bruno Ganz and Hanna Schygulla contributed immensely as well. Today the biggest German production studios include Babelsberg Studio, Constantin Film and Bavaria Film; with releases like Run Lola Run by Tom Tykwer; Goodbye Lenin! by Wolfgang Becker; Perfume by Florian Henckel von Donnersmarck having great commercial success among audiences around the globe.