of the 1970s and 1980s included films by directors such as Fassbinder, Herzog, and Wim Wenders. While these directors made films with "many ideological and cinematic messages", they all shared the common element of providing an "aesthetic alternativ(e) to Hollywood" films (even though Fassbinder was influenced by the works of Douglas Sirk) and "a break with the cultural and political traditions associated with the Third Reich"(159). Poland After World War II, the Lódz Film School was founded in 1948. During the 1950s and 1960s, a "Polish School of Film" of filmmakers developed, such as Wojciech Has, Kazimierz Kutz, Andrzej Munk and Andrzej Wajda. According to film scholar Marek Haltof, the Polish School made films which can be described as the "Cinema of Distrust". In the late 1970s and early 1980s, Wajda, Krzysztof Zanussi and Barbara Sass made influential films which garnered interest outside of Poland. However, even though Western countries became increasingly interested in Polish cinema during this period, the country's film infrastructure and market was disintegrating. Mexico See Nuevo Cine Mexicano Although it is difficult to determine and define a 'national cinema', much of what many consider Mexican national cinema, but not limited to, is Golden Age of Mexican Cinema and films that revolve around the Mexican Revolution. Unique trajectories of Mexican cinema's development shaped historically specific understandings of the ontology of the moving image, leading to unique configurations of documentation and fictionalization. The Revolution spilled across pages of the press, and became the primary subject of Mexican films produced between 1911 and 1916. There was a high interest in topicality in and capturing current events as they unfolded, re-staging, or combining both approaching, created a sensationalist appeal in these visual 'records' of death and injury. Compilation documentaries, such as Toscano's Memorias de un Mexicano in the years following the Mexican Revolution can be seen as part of a broader cultural politics of nationalism that worked to naturalize and to consolidate the political and ideological story of the revolution. Later narrativized dramas, such as María Candelaria, The Pearl, Enamorada, Rio Escondido, Saián Mexico, or Pueblerina by Emilio Fernandez and/or Gabriel Figueroa, are often considered part of the Mexican national cinematic body. These films, and most popular films of the 1920s in Mexico, adopted David Bordwell's "cinematic norms": narrative linkage, cause and effect, goal oriented protagonists, temporal order or cinematic time, and filmic space as story space. But also, is