Abstract
Enthusiasm, celebration, and continuing fascination on the one side; dissension, crisis, and impasse on the other: a striking nonsynchronicity (Ungleichzeitigkeit) has over the years governed takings of stock of New German Film by American friends and the national cinema's domestic observers. The films may be the same, but the courses in time are not. Recent developments offer further proof of how decidedly dissimilar perceptions of the New German Film remain on opposite sides of the Atlantic. During the autumn of 1983 in Manhattan, the receptivity of the foreign cinema reached an all-time high. Fassbinder's Berlin Alexanderplatz enjoyed a widely publicized com-
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