New German Cinema is a term used to describe a grouping of films made in West Germany (Federal Republic of Germany) in the 1960s, 1970s and early 1960s 1980. Although generally grouped together, these films resist clear generic delineation and are in fact marked by their stylistic and thematic diversity. Three common elements unite them. First, all directors were born during or around the time of World War II, grew up in divided postwar Germany, and are therefore characterized as a generation. Second, the “new cinema” relied on an artisanal mode of production, which facilitated close collaborations and a high degree of experimentation due to funding criteria and opportunities. Third and finally, all the films shared, on the one hand, the same concern for the contemporary reality of West Germany and, on the other hand, the search for audiences and markets. Although the directors of the New German Cinema were undoubtedly very talented, there were a number of historical directors with specific factors, which established some of the essential prerequisites for the emergence of the New Cinema. Of particular importance is how the Allies managed the fledgling West German film industry in the years immediately following World War II. At the end of World War II, the Western Allies considered it extremely vital to "re-educate" the German people in order to both "denazify" Germany and provide a means of building up the Western areas of the Germany as a buffer against Soviet influence in Eastern Europe; and American films were quickly identified as an effective means of disseminating Western notions of freedom, democracy, and capitalist enterprise. Nevertheless, the revision of the film subsidy system during the 1970s began to significantly improve production operations. .....st exclusively in terms of the personal visions of their directors. Thus, the new German cinema became known primarily as "auteur cinema", alongside American and British cinemas. But, as subsequent studies have shown, an authoritarian approach provides only a partial understanding of how and why certain cinematic movements arise and thrive at particular times. It was in the mid-1980s that countless critics announced the demise of New German. Movie theater. This was probably because many of the most closely associated directors had moved abroad. People like Herzog, Schlöndorff, von Trotta, Wenders, Straub and Huillet had either worked in other countries or emigrated. Fassbiner, who was by far cinema's most prolific director, died in 1982, adding to the list of events leading to his demise.