The New German Film was a movement that emerged in West Germany in the early 1960s to revitalize German cinema. Previously, the development of West German cinema was at its lowest point both economically and artistically, and West German cinema had fallen into a serious crisis. Thus, at the 8th West German Short Film Festival in Oberhausen in 1962, 26 young film directors, screenwriters and actors jointly issued the Oberhausen Declaration on the state of West German cinema at that time. They explicitly declared themselves to "break with traditional cinema, to adopt a new cinematic language" and "to free themselves from stereotypes, business partners and certain interest groups" in order to create a new German cinema. They expressed "readiness to work together and take risks together" and asserted that "the future of German cinema lies in the use of an international cinematic language". The movement was initially known as "German Youth Cinema", and the advocate and leader was Kruger, after years of practice and constant struggle and corresponding national film funding. From weak to strong, it finally shook the foundation of traditional cinema and became the mainstream of West German cinema, known as the "new German film". The main members of the new German film are almost all young film directors under the age of 30, whose films are different from the traditional films that conform to the old ways, daring to explore Germany's dark past and expose the contradictions and unfair phenomena of today's reality; in terms of artistic style, they completely abandon the stereotypes of decades and replace them with new and unique expressions. From 1965 to 1867, Kruger's Farewell to Yesterday (1966), Chamoni's Fox Hunting Period (1966) and Schrondorff's The Confusion of the Young Torres (1966) won awards at a number of international film festivals, bringing the movement's fame to a climax. In 1975, a second creative climax occurred, and new directors such as Fasspende, Herzog and Wenders, who were artistically distinctive, joined the movement. Their films, such as Fassbend's Fear Eats The Soul (1973) and Effie Brist (1974), Hertzog's Argil, The Wrath of God (1972) and Man Thinks Of Himself, God Against Everyone (1974), Schrondorff's The Discredited Katharina Bloom (1975), Wenders' Alice in the City (1973) and Wrong Moves (1974), have gained international fame. It gives the sport funders confidence. However, the films of these young directors remained unpopular in the country, and the second climax of the movement quickly fell silent. In 1979, the movement revived again, this time thanks to the great success of films such as Fasspend's The Marriage of Maria Braun (1978) and Schrondorff's Tin Drum (1979), and the new German film finally got rid of the international situation and did not sell well at home. The New German Film Movement also became the most important film movement in the contemporary West. Since 1979, the new German film has maintained the momentum of creation, and the directors have also independently organized the Hamburg Film Festival in Germany and issued the Hamburg Declaration, demanding that national films maintain their independent status and encourage the free development of various styles and styles. It was not until the death of Fasspende in 1982 that it was considered the end of the New German film movement.