"Cinema is a worldwide phenomenon"
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“Cinema is a worldwide phenomenon” sounds almost banal until you remember who’s saying it: Wim Wenders, a director whose entire career is a long argument with borders. Wenders came up in postwar Germany, where culture was split between reconstruction and imported American images. His films keep returning to the question of what happens when a country watches itself through someone else’s lens. So “worldwide” isn’t just a proud fact about distribution; it’s a warning label.
The line carries two impulses at once. On the surface, it celebrates cinema’s rare ability to travel: a cut, a face, a road, a song can land in Tokyo or Texas with minimal translation. That’s the medium’s seduction, and Wenders knows it intimately from festival circuits and international co-productions that made “European cinema” legible to the world.
Underneath, though, “phenomenon” implies something you can observe but not fully control, like weather. Cinema spreads because it’s infrastructure (studios, streaming, subtitles), but also because it’s appetite: audiences everywhere are trained to desire certain rhythms of storytelling, certain bodies as protagonists, certain cities as fantasies. Wenders’ context makes that tension sting. For a filmmaker associated with the New German Cinema - a movement trying to rebuild a national voice - worldwide cinema can mean worldwide influence, and worldwide flattening.
The sentence is deceptively plain, a director speaking like a surveyor. That restraint is the tell. Wenders isn’t making a romantic claim about art; he’s naming cinema as a global force that shapes how nations imagine themselves, sometimes more powerfully than politics does.
The line carries two impulses at once. On the surface, it celebrates cinema’s rare ability to travel: a cut, a face, a road, a song can land in Tokyo or Texas with minimal translation. That’s the medium’s seduction, and Wenders knows it intimately from festival circuits and international co-productions that made “European cinema” legible to the world.
Underneath, though, “phenomenon” implies something you can observe but not fully control, like weather. Cinema spreads because it’s infrastructure (studios, streaming, subtitles), but also because it’s appetite: audiences everywhere are trained to desire certain rhythms of storytelling, certain bodies as protagonists, certain cities as fantasies. Wenders’ context makes that tension sting. For a filmmaker associated with the New German Cinema - a movement trying to rebuild a national voice - worldwide cinema can mean worldwide influence, and worldwide flattening.
The sentence is deceptively plain, a director speaking like a surveyor. That restraint is the tell. Wenders isn’t making a romantic claim about art; he’s naming cinema as a global force that shapes how nations imagine themselves, sometimes more powerfully than politics does.
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