Both tended to have been born around the time of the Second World War, coming of age in the late 1960s, at a time of general political insurrection but particularly conscious of the dreadful schism in Germany’s recent past. Both were concerned about the “Americanisation” of West Germany, a sort of cultural occupation, with landscape and existential uncertainty. Both stood in contrast to banally amnesiac strains in their chosen media – for Krautrockers it was the hideously kitsch form of MOR known as Schlager, for filmmakers it was “Heimatfilm”, a form of cinema which offered a bucolic, nostalgic view of a never-never Germany in which the Third Reich had never happened.