The researcher states that thereafter gradually & quite naturally, the ‘American influence’ begun to overflow in diverse domains. It slowly initiated to engulf spectrums such as art, theatre, culture, music, films. The next step was to classify those apparently ‘nonpolitical’ artistic components at par with the lines of the grand old American maneuver. This cultural autocracy created a stir amongst the enlightened & elitist in Europe. Film corporations like the Metro Goldwyn Mayer had already infiltrated the economies of third world nations like India by 1920. While American film corporations’ encashed rich dividends from colonial markets, the European heavyweights were coerced to remain at a bay. This naturally sprouted a furor across the cultural horizon. The European mavericks & thespians felt that a cultural reincarnation was long overdue. German filmmakers like Dupont, Eichberg & Bolvary, plunged into the galaxy of filmdom, with the aim to break the American jinx. Their unbridled apathy against US monopoly led them to the shores of Britain, from where they churned out numerous path-breaking films. This unique film movement came to be known as the ‘Film Europe Movement’, & gained massive popularity throughout the European peninsula. The noble ideals of combating capitalist aggression with socialist principles augured magically with the masses. ‘Film Europe’ managed to successfully batter up American aggression, intertwined with egalitarian theologies. The concluding research deals with the Film Europe Movement with E.A. DuPont’s English film ‘Piccadilly’ juxtaposing the center stage. The culmination of the First World War had precisely ravaged up the economies of France & Italy. They were in no position to stifle or even stand a chance against the ever-expanding ‘American menace’. The calculating American theorists embarked on their global economic conquest, & by 1917, had South America, Australia, Asia Minor & vast territories of Africa amidst their grasp.
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