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The "Nouvelle Vague," or New Wave, was the most vital of the many new developments in cinema at the time. Directors rejected everything that smacked of turgid post-war film aesthetics. Jean Luc Godard's film "Breathless" was a fresh cinematic wind that triggered the New Wave revolution. Francois Truffaut was another influential French New Wave director whose films were even more popular than Godard's. Truffaut's breakout film, "Jules and Jim," questioned the nature of monogamous love and hinted at the sexual revolution and new ideas about female gender roles that have since become emblematic of Germany experienced its own take on New Wave cinema in the s, as the foundations were set for the New German Cinema.

The Oberhausen Manifesto signed by 26 filmmakers in demanded a shift away from "Papa's cinema," and director Alexander Kluge became the leader of the new genre with his drama "Yesterday Girl," the story of a young East German migrant in West Germany.

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German director Rainer Werner Fassbinder's vast filmography of sometimes abstract and always uncompromising cinema sparked international recognition for Germany's nascent New Wave. His first feature film was the gangster film, "Love is colder than death. For a while, it seemed Communist East Germany was also in the grips of a cinematic revolution in the mids. East German film makers made a dozen movies in that moved down new cinematic paths, including Frank Beyer's "Spur der Steine" "Trace of Stones" , the story of exploited petrochemical plant workers that typically played for a few days before it was banned by the GDR government.

Eastern European directors also tried to disrupt established cinematic conventions in the s, especially in Czechoslovakia in the lead-up to the Prague Spring.

Brazilian filmmakers also played a special role in Latin American popular movements by creating what became known as "Cinema Novo," or new film. Director Glauber Rocha was a key figure in a new film culture that took its queues from Italian neorealism and French New Wave. His western "Anotiono das Mortes" , for example, took a critical look at the plight of Brazilian peasants.

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Japanese cinema also saw revolutionary developments in the s. Nagisa Oshima, who would shock world cinema in the s with his art "In the Real of the Senses," had already embarked on radical projects defied cinematic conventions. Ebooks and Manuals

His film "Sing a song of sex," for example, examines young people's changing attitude toward violence and sexuality. Of course, the movement didn't bypass the US. A new vanguard of directors grouped together under the New Hollywood cinema broke away from the mainstream studio conventions to create daring films that reflected the political insurgency of the time. Michelangelo Antonioni's "Zabriskie Point" seems to mark the end of the global new cinema phenomenon that coincided with The film — made in the US — is a homage to the aftermath of the late '60s protest and flower power movement.

The final scene shows a villa exploding in a huge fireball, symbolic of a loss of innocence after years of idealism. Film anticipated the protest movements, student revolutions and upheavals that marked by almost a decade. Italian directors cloaked their dreams of revolution and change as western movies. Eastern Europeans, too, had a hunger for change. East Germans took to the streets in , Hungarians three years later. Directors brought the images of angry citizens and repressive states to the screen. The result, the Rotax iS. The Sling TSi, like its predecessors, has reeived criticacl acclaim for its capabilities, effortless handling and all-round functionality.

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