there are "two traditions of filmmaking in Canada": The "documentary realist tradition" espoused by the federal government's National Film Board and avant-garde films. Scott MacKenzie argues that by the late 1990s, if Canada did have a popular cinema with both avant-garde and experimental elements, that was influenced by European filmmakers such as Jean-Luc Godard and Wim Wenders. MacKenzie argues that Canadian cinema has a "...self-conscious concern with the incorporation of cinematic and televisual images", and as examples, he cites films such as David Cronenberg's Videodrome (1983), Atom Egoyan's Family Viewing (1987), Robert Lepage's The Confessional (Le Confessionnal) (1995) and Srinivas Krishna's Masala (1991). France See French New Wave and cinema du look France's national cinema includes both popular cinema and "avant-garde" films. French national cinema is associated with the auteur filmmakers and with a variety of specific movements. Avant-garde filmmakers include Germaine Dulac, Marie and Jean Epstein. Poetic Realism filmmakers include Jean Renoir and Marcel Carné. The French New Wave filmmakers include Jean-Luc Godard and François Truffaut. The 1990s and 2000s "postmodern cinema" of France includes filmmakers such as Jean-Jacques Beinex, Luc Besson and Coline Serreau. Germany See German New Wave During the German Weimar Republic, German national cinema was influenced by silent and sound "Bergfilm" (this translates to "mountain film"). During the 1920s and early 1930s, German national cinema was known for the progressive and artistic approaches to filmmaking with "shifted conventional cinematic vocabulary" and which gave actresses a much larger range of character-types. During the Nazi era, the major film studio UFA was controlled by Propaganda Minister Goebbels. UFA produced "Hetzfilme" (anti-Semitic hate films) and films which emphasized the "theme of heroic death." Other film genres produced by UFA during the Nazi era included historical and biographical dramas that emphasized the achievements in German history, comedy films, and propaganda films. During the Cold War from the 1950s through the 1980s, there were West German films and East German films. Film historians and film scholars do not agree whether the films from the different parts of Cold War-era Germany can be considered to be a single "German national cinema." Some West German films were about the "immediate past in sociopolitical thought and in literature". East German films were often Soviet-funded "socially critical" films. Some East German films examined Germany's Nazi past, such as Wolfgang Staudte's Die Mörder sind unter uns (The Murderers Are Among Us). The New German Cinema