Cannabis Ruderalis

thcscience_admin
New Hollywood
Years activeMid-1960s to early 1980s
CountryUnited States
Influences
Influenced

The New Hollywood, also referred to as the American New Wave or sometimes called the Hollywood Renaissance, refers to a movement in American film history from the mid-1960s to the early 1980s, when a new generation of young filmmakers came to prominence in the United States. They influenced the types of film produced, their production and marketing, and the way major studios approached film-making. In New Hollywood films, the film director, rather than the studio, took on a key authorial role. The definition of "New Hollywood" varies, depending on the author, with some defining it as a movement and others as a period. The span of the period is also a subject of debate, as well as its integrity, as some authors, such as Thomas Schatz, argue that the New Hollywood consists of several different movements. The films made in this movement are stylistically characterized in that their narrative often strongly deviated from classical norms. After the demise of the studio system and the rise of television, the commercial success of films was diminished.

Successful films of the early New Hollywood era include Bonnie and Clyde, The Graduate, Night of the Living Dead, The Wild Bunch, and Easy Rider. Films that failed at the box office, including Heaven's Gate and One from the Heart, marked the end of the era.

History[edit]

Background[edit]

Following the Paramount Case (which ended block booking and ownership of theater chains by film studios) and the advent of television (where John Frankenheimer, Paddy Chayefsky and Sidney Lumet worked in their earlier years), both of which severely weakened the traditional studio system, Hollywood studios initially used spectacle to retain profitability. Technicolor developed a far more widespread use, while widescreen processes and technical improvements, such as CinemaScope, stereo sound and others, such as 3-D, were invented in order to retain the dwindling audience and compete with television. However, these were generally unsuccessful in increasing profits.[2] By 1957, Life magazine called the 1950s "the horrible decade" for Hollywood.[3]

The 1950s and early 1960s saw a Hollywood dominated by musicals, historical epics, and other films that benefited from the larger screens, wider framing and improved sound. Hence, as early as 1957, the era was dubbed a "New Hollywood".[3] However, audience shares continued to dwindle, and had reached alarmingly low levels by the mid-1960s. Several costly flops, including Tora! Tora! Tora! and Hello, Dolly!, and failed attempts to replicate the success of The Sound of Music, put great strain on the studios.[4]

By the time the baby boomer generation was coming of age in the 1960s, "Old Hollywood" was rapidly losing money; the studios were unsure how to react to the much changed audience demographics. The change in market during the period went from a middle-aged high school-educated audience in the mid 1960s, to a younger, more affluent, college-educated demographic: by the mid 1970s, 76% of all movie-goers were under 30, 64% of whom had gone to college.[5] European films, both arthouse and commercial (especially the Commedia all'italiana, the French New Wave, the Spaghetti Western), and Japanese cinema were making a splash in United States — the huge market of disaffected youth seemed to find relevance and artistic meaning in movies like Michelangelo Antonioni's Blowup, with its oblique narrative structure and full-frontal female nudity.[6][7]

The desperation felt by studios during this period of economic downturn, and after the losses from expensive movie flops, led to innovation and risk-taking, allowing greater control by younger directors and producers.[8] Therefore, in an attempt to capture that audience which found a connection to the "art films" of Europe, the studios hired a host of young filmmakers and allowed them to make their films with relatively little studio control. Some of whom, like actor Jack Nicholson and director Peter Bogdanovich, were mentored by "King of the Bs" Roger Corman while others like celebrated cinematographer Vilmos Zsigmond worked for lesser-known B movie directors like Ray Dennis Steckler, known for the 1962 Arch Hall Jr. vehicle Wild Guitar and the 1963 horror musical flick The Incredibly Strange Creatures Who Stopped Living and Became Mixed-Up Zombies.[9] This, together with the breakdown of the Motion Picture Production Code in 1966 and the new ratings system in 1968 (reflecting growing market segmentation) set the scene for the New Hollywood.[10]

Bonnie and Clyde[edit]

A defining film of the New Hollywood generation was Bonnie and Clyde (1967).[11]

Produced by and starring Warren Beatty and directed by Arthur Penn, its combination of graphic violence and humor, as well as its theme of glamorous disaffected youth, was a hit with audiences. The film won Academy Awards for Best Supporting Actress (Estelle Parsons)[12] and Best Cinematography.[13][14]

When Jack L. Warner, then-CEO of Warner Bros., first saw a rough cut of Bonnie and Clyde in the summer of 1967, he hated it. Distribution executives at Warner Brothers agreed, giving the film a low-key premiere and limited release. Their strategy appeared justified when Bosley Crowther, middlebrow film critic at The New York Times, gave the movie a scathing review. "It is a cheap piece of bald-faced slapstick comedy," he wrote, "that treats the hideous depredations of that sleazy, moronic pair as though they were as full of fun and frolic as the jazz-age cut-ups in Thoroughly Modern Millie..." Other notices, including those from Time and Newsweek magazines, were equally dismissive.[15]

Its portrayal of violence and ambiguity in regard to moral values, and its startling ending, divided critics. Following one of the negative reviews, Time magazine received letters from fans of the movie, and according to journalist Peter Biskind, the impact of critic Pauline Kael in her positive review of the film (October 1967, New Yorker) led other reviewers to follow her lead and re-evaluate the film (notably Newsweek and Time).[16] Kael drew attention to the innocence of the characters in the film and the artistic merit of the contrast of that with the violence in the film: "In a sense, it is the absence of sadism — it is the violence without sadism — that throws the audience off balance at Bonnie and Clyde. The brutality that comes out of this innocence is far more shocking than the calculated brutalities of mean killers." Kael also noted the reaction of audiences to the violent climax of the movie, and the potential to empathise with the gang of criminals in terms of their naiveté and innocence reflecting a change in expectations of American cinema.[17]

The cover story in Time magazine in December 1967, celebrated the movie and innovation in American New Wave cinema. This influential article by Stefan Kanfer claimed that Bonnie and Clyde represented a "New Cinema" through its blurred genre lines, and disregard for honoured aspects of plot and motivation, and that "In both conception and execution, Bonnie and Clyde is a watershed picture, the kind that signals a new style, a new trend."[7] Biskind states that this review and turnaround by some critics allowed the film to be re-released, thus proving its commercial success and reflecting the move toward the New Hollywood.[18] The impact of this film is important in understanding the rest of the American New Wave, as well as the conditions that were necessary for it.

These initial successes paved the way for the studio to relinquish almost complete control to these innovative young filmmakers. In the mid-1970s, idiosyncratic, startling original films such as Paper Moon, Dog Day Afternoon, Chinatown, and Taxi Driver among others, enjoyed enormous critical and commercial success. These successes by the members of the New Hollywood led each of them in turn to make more and more extravagant demands, both on the studio and eventually on the audience.

Characteristics[edit]

This new generation of Hollywood filmmaker was most importantly, from the point of view of the studios, young, therefore able to reach the youth audience they were losing. This group of young filmmakers—actors, writers and directors—dubbed the "New Hollywood" by the press, briefly changed the business from the producer-driven Hollywood system of the past.

Todd Berliner has written about the period's unusual narrative practices. The 1970s, Berliner says, marks Hollywood's most significant formal transformation since the conversion to sound film and is the defining period separating the storytelling modes of the studio era and contemporary Hollywood. New Hollywood films deviate from classical narrative norms more than Hollywood films from any other era or movement. Their narrative and stylistic devices threaten to derail an otherwise straightforward narration. Berliner argues that five principles govern the narrative strategies characteristic of Hollywood films of the 1970s:

  • Seventies films show a perverse tendency to integrate, in narrative incidental ways, story information and stylistic devices counterproductive to the films' overt and essential narrative purposes.
  • Hollywood filmmakers of the 1970s often situate their film-making practices in between those of classical Hollywood and those of European and Asian art cinema.
  • Seventies films prompt spectator responses more uncertain and discomforting than those of more typical Hollywood cinema.
  • Seventies narratives place an uncommon emphasis on irresolution, particularly at the moment of climax or in epilogues, when more conventional Hollywood movies busy themselves tying up loose ends.
  • Seventies cinema hinders narrative linearity and momentum and scuttles its potential to generate suspense and excitement.[19]

Thomas Schatz points to another difference with the Hollywood Golden Age, which deals with the relationship of characters and plot. He argues that plot in classical Hollywood films (and some of the earlier New Hollywood films like The Godfather) "tended to emerge more organically as a function of the drives, desires, motivations, and goals of the central characters". However, beginning with mid-1970s, he points to a trend that "characters became plot functions".[20]

During the height of the studio system, films were made almost exclusively on set in isolated studios. The content of films was limited by the Motion Picture Production Code, and though golden-age film-makers found loopholes in its rules, the discussion of more taboo content through film was effectively prevented. The shift towards a "new realism" was made possible when the Motion Picture Association of America film rating system was introduced and location shooting was becoming more viable. New York City was a favorite spot for this new set of filmmakers due to its gritty atmospherse.[21]

Because of breakthroughs in film technology (e.g. the Panavision Panaflex camera, introduced in 1972), the New Hollywood filmmakers could shoot 35mm camera film in exteriors with relative ease. Since location shooting was cheaper (no sets need to be built) New Hollywood filmmakers rapidly developed the taste for location shooting, resulting in a more naturalistic approach to filmmaking, especially when compared to the mostly stylized approach of classical Hollywood musicals and spectacles made to compete with television during the 1950s and early 1960s. The documentary films of D.A. Pennebaker, the Maysles Brothers and Frederick Wiseman, among others, also influenced filmmakers of this era.[22]

However, in editing, New Hollywood filmmakers adhered to realism more liberally than most of their classical Hollywood predecessors, often using editing for artistic purposes rather than for continuity alone, a practice inspired by European art films and classical Hollywood directors such as D. W. Griffith and Alfred Hitchcock. Films with unorthodox editing included Easy Rider's use of jump cuts (influenced by the works of experimental collage filmmaker Bruce Conner[23][24][25]) to foreshadow the climax of the movie, as well as subtler uses, such as those to reflect the feeling of frustration in Bonnie and Clyde, the subjectivity of the protagonist in The Graduate and the passage of time in the famous match cut from 2001: A Space Odyssey.[26][27] Also influential were the works of experimental filmmakers Arthur Lipsett,[28] Bruce Baillie[29] and Kenneth Anger with their combinations of music and imagery and each were cited by George Lucas and Martin Scorsese as influences.[30]

The end of the production code enabled New Hollywood films to feature anti-establishment political themes, the use of rock music, and sexual freedom deemed "counter-cultural" by the studios.[31] The youth movement of the 1960s turned anti-heroes like Bonnie and Clyde and Cool Hand Luke into pop-culture idols, and Life magazine called the characters in Easy Rider "part of the fundamental myth central to the counterculture of the late 1960s."[32] Easy Rider also affected the way studios looked to reach the youth market.[32] The success of Midnight Cowboy, in spite of its "X" rating, was evidence for the interest in controversial themes at the time and also showed the weakness of the rating system and segmentation of the audience.[33]

Interpretations on defining the movement[edit]

For Peter Biskind, the new wave was foreshadowed by Bonnie and Clyde and began in earnest with Easy Rider. Biskind's book Easy Riders, Raging Bulls argues that the New Hollywood movement marked a significant shift towards independently produced and innovative works by a new wave of directors, but that this shift began to reverse itself when the commercial success of Jaws and Star Wars led to the realization by studios of the importance of blockbusters, advertising and control over production.[34]

Writing in 1968, critic Pauline Kael argued that the importance of The Graduate was in its social significance in relation to a new young audience, and the role of mass media, rather than any artistic aspects. Kael argued that college students identifying with The Graduate were not too different from audiences identifying with characters in dramas of the previous decade.[35]

John Belton points to the changing demographic to even younger, more conservative audiences in the mid 1970s (50% aged 12–20) and the move to less politically subversive themes in mainstream cinema,[36] as did Thomas Schatz, who saw the mid- to late 1970s as the decline of the art cinema movement as a significant industry force with its peak in 1974–75 with Nashville and Chinatown.[37]

Geoff King sees the period as an interim movement in American cinema where a conjunction of forces led to a measure of freedom in filmmaking,[38] while Todd Berliner says that 70s cinema resists the efficiency and harmony that normally characterize classical Hollywood cinema and tests the limits of Hollywood's classical model.[39]

According to author and film critic Charles Taylor (Opening Wednesday at a Theater or Drive-In Near You), he stated that "the 1970s remain the third — and, to date, last — great period in American movies".[40]

Author A.D. Jameson (I Find Your Lack of Faith Disturbing) claimed that Star Wars was New Hollywood's finest achievement that actually embodied the characteristics of the respected "serious, sophisticated adult films".[41][42]

Criticism[edit]

The New Hollywood was not without criticism, as in a Los Angeles Times article film critic Manohla Dargis described it as the "halcyon age" of the decade's filmmaking, that "was less revolution than business as usual, with rebel hype".[43] She also pointed out in her NY Times article that New Hollywood enthusiasts insist this was "when American movies grew up (or at least starred underdressed actresses); when directors did what they wanted (or at least were transformed into brands); when creativity ruled (or at least ran gloriously amok, albeit often on the studio's dime)."[44]

This era of American cinema was also criticized for its excessive decadence and on-set mishaps.[45][46] Even Steven Spielberg, who co-directed/co-produced 1983's Twilight Zone: The Movie with John Landis, was so disgusted by the latter's handling of the deadly helicopter accident that resulted in the death of character actor Vic Morrow and child actors Myca Dinh Le and Renee Shin-Yi Chen, he ended their friendship and publicly called for the end of this era. When approached by the press about the accident, he stated "No movie is worth dying for. I think people are standing up much more now, than ever before, to producers and directors who ask too much. If something isn't safe, it's the right and responsibility of every actor or crew member to yell, 'Cut!'[47]

Legacy[edit]

The films of Steven Spielberg, Brian De Palma, Martin Scorsese and Francis Ford Coppola influenced both the Poliziotteschi genre films in Italy[48] and a decade later the Cinéma du look movement in France.[49]

American Eccentric Cinema has been framed as influenced by this era.[50] Both traditions have similar themes and narratives of existentialism and the need for human interaction.[50] The New Hollywood focuses on the darker elements of humanity and society within the context of the American Dream in the mid-1960s to the early 1980s,[50] with themes that were reflective of sociocultural issues and were centered around the potential meaninglessness of pursuing the American Dream as generation upon generation motivated to possess it.[50] In comparison, American Eccentric Cinema does not have a distinct context, its films show characters who are very individual and their concerns are very distinctive to their own personalities.[50]

The behind-the-scenes of some of the films from this era (The Exorcist, Twilight Zone: The Movie and The Omen) were also the subjects for the docuseries Cursed Films.[51][52][53]

List of selected important and notable figures of the movement[edit]

Actors[edit]

Directors[edit]

Others[edit]

List of selected important and notable films[edit]

The following is a chronological list of notable films that are generally considered to be "New Hollywood" productions.

See also[edit]

References[edit]

  1. ^ a b Film History of the 1970s - filmsite.org
  2. ^ David E James, Allegories of Cinema, American film in the Sixties, Princeton University Press, New York, 1989, pp. 14–26
  3. ^ a b Hodgins, Eric (1957-06-10). "Amid Ruins of an Empire a New Hollywood Arises". Life. p. 146. Retrieved April 22, 2012.
  4. ^ Schatz (1993), pp. 15–20
  5. ^ Belton (1993), p. 290
  6. ^ David A Cook, "Auteur Cinema and the film generation in 70s Hollywood", in The New American Cinema by Jon Lewis (ed), Duke University Press, New York, 1998, pp. 1–4
  7. ^ a b Stefan Kanfer, The Shock of Freedom in Films, Time Magazine, Dec 8, 1967, Accessed 25 April 2009
  8. ^ Schatz (1993), pp. 14–16
  9. ^ Patterson, John (January 6, 2016). "Vilmos Zsigmond: the cinematographer who transformed how films look". The Guardian. London, United Kingdom. Retrieved November 1, 2018.
  10. ^ Schatz (1993)
  11. ^ a b "AFI Silver Theatre and Cultural Center". www.afi.com.
  12. ^ Estelle Parsons winning Best Supporting Actress-Oscars on YouTube
  13. ^ Burnett Guffey winning the Oscar for cinematography for "Bonnie and Clyde"-Oscars on YouTube
  14. ^ 1968|Oscars.org
  15. ^ NewWaveFilm.com, "New Hollywood" article, March 2013
  16. ^ Biskind (1998), pp. 40–47
  17. ^ Pauline Kael, "Bonnie and Clyde" in, Pauline Kael, For Keeps (Plume, New York, 1994) pp. 141–57. Originally published in The New Yorker, October 21, 1967
  18. ^ Biskind (1998)
  19. ^ Berliner (2010), pp. 51–52
  20. ^ Schatz (1993), pp. 22
  21. ^ The 11 Best Gritty New York Films from the 1970s|Culture Trip
  22. ^ a b c Filmmuseum - Program SD
  23. ^ Bruce Conner's Eye for Images, With Links Unseen - The New York Times
  24. ^ Bruce Conner: The Artist Who Shaped Our World|Dangerous Minds
  25. ^ Bruce Conner: Father of the Music Video - Utne
  26. ^ Monaco (2001), p. 183
  27. ^ Why 2001: A Space Odyssey was a masterpiece so ahead of its time|EW.com
  28. ^ Arthur Lipsett: Inside His Disturbed & Disturbing Collage Films - National Film Board of Canada
  29. ^ Bruce Baillie, 'Essential' Avant-Garde Filmmaker, Dies at 88 - The New York Times
  30. ^ Martin Scorsese: Champion Of The Underground|Underground Film Journal
  31. ^ Schatz (1993), pp. 12–22
  32. ^ a b Monaco (2001), pp. 182–188
  33. ^ Belton (1993), p. 288
  34. ^ Biskind (1998), p. 288
  35. ^ Pauline Kael, "Trash, Art, and the Movies" in Going Steady, Film Writings 1968–69, Marion Boyers, New York, 1994, pp. 125–7
  36. ^ Belton (1993), pp. 292–296
  37. ^ Schatz (1993), p. 20
  38. ^ King (2002), p. 48
  39. ^ Berliner (2010)
  40. ^ a b Book Review: 'Opening Wednesday At A Theater Or Drive-In Near You,' By Charles Taylor: NPR
  41. ^ "Star Wars" didn't kill American cinema. Is it New Hollywood's greatest achievement?|Salon.com
  42. ^ 'I Find Your Lack of Faith Disturbing' Review: The Geeks Strike Back - WSJ
  43. ^ a b Dargis, Dargis (August 17, 2003). "The '70s: Get over it". Los Angeles Times. Retrieved March 12, 2018.
  44. ^ a b Dargis, Manohla (12 November 2010). "'60s Hollywood, the Rebels and the Studios: Power Shifted (or Did It?)". The New York Times. Retrieved July 19, 2018.
  45. ^ Decade of decadence: Nicholson, Polanski and Hollywood in the Seventies|The Independent
  46. ^ a b c Cursed Films' 'Twilight Zone: The Movie' is a devastating account of a tragedy that shook Hollywood to the core|MEAWW
  47. ^ a b Deadliest horror movies ever made: Films surrounded by real-life death|Hollywood — Gulf News
  48. ^ Violent Italy: A Poliziotteschi Primer|Birth.movies.Death.
  49. ^ 10 Essential Films For An Introduction To Cinema du Look – Taste of Cinema
  50. ^ a b c d e Wilkins, Kim. American eccentric cinema. ISBN 978-1-5013-3694-2. OCLC 1090782214.
  51. ^ CURSED FILMS Interviews: Director Jay Cheel and Occult Writer Mitch Horowitz Talk Horror Movies
  52. ^ Shudder's Cursed Films: Season 1 Review - IGN
  53. ^ Cursed Films: The Omen|A Shudder Original Series on official YouTube channel
  54. ^ a b c d e f g h i j k l m n o p q r s t u v w x y z aa ab ac ad ae af ag ah ai aj ak al am an ao ap aq ar as at au av aw ax ay "Actors of the '70s: Then and now". msn.com. Retrieved July 19, 2018.
  55. ^ "McCabe & Mrs. Miller (1971)". Flickchart. Retrieved July 21, 2018.
  56. ^ "The Best Movies Starring Ned Beatty". Flickchart. Retrieved July 21, 2018.
  57. ^ Warren Beatty: 10 essential films. "He helped usher in New Hollywood with Bonnie and Clyde, and became one of the key actors of that 1970s golden age of American cinema." BFI Website, 27 March 2017. Retrieved 7 February 2021.
  58. ^ a b c d e f g h i j k "New Hollywood". Flickchart. Retrieved July 19, 2018.
  59. ^ a b c d e "A HISTORY OF AMERICAN NEW WAVE CINEMA Part Three: New Hollywood (1970–1971)". newwavefilm.com. Retrieved July 21, 2018.
  60. ^ Why 1974 Was Mel Brooks's Best Year|Best Movies by Farr
  61. ^ "The Best Movies Starring Keith Carradine". Flickchart. Retrieved July 21, 2018.
  62. ^ a b The Conversation (1974) - Flickchart
  63. ^ a b TV News Desk. "BAMcinématek to Present A Different Picture: Women Filmmakers in the New Hollywood Era". broadwayworld.com. Retrieved July 21, 2018.
  64. ^ a b "The 70s was the golden age of Hollywood. But why? | Film". The Guardian. 13 July 2007. Retrieved July 19, 2018.
  65. ^ a b "20 Movies That Prove That The 1970s Was The Best Decade For Film-Page 14-8. One Flew Over The Cuckoo's Nest". whatculture.com. 7 January 2015. Retrieved July 19, 2018.
  66. ^ a b c Personal Criticism|The New Yorker
  67. ^ a b c "Trends in 70's Cinema: New Hollywood". cinelinx.com. Retrieved July 19, 2018.
  68. ^ "The Best Movies Starring Richard Gere". Flickchart. Retrieved July 21, 2018.
  69. ^ Oscar-winner Lee Grant talks classic films, the blacklist and being a female director in Hollywood - Los Angeles Times
  70. ^ a b c d e f g "The Greatest Era in Film History: 10 Movies From '70s America". Paste Magazine. 27 October 2011. Retrieved July 19, 2018.
  71. ^ a b "Peter Bogdanovich, Between Old and New Hollywood - Harvard Film Archive". hcl.harvard.edu. Archived from the original on 2013-06-21. Retrieved July 21, 2018.
  72. ^ a b "New Hollywood (1967–1977)". jahsonic.com. Retrieved July 19, 2018.
  73. ^ a b Hendershot, Heather (11 May 2011). "Losers Take All: On the New American Cinema". The Nation. Retrieved July 21, 2018.
  74. ^ "All That Jazz (1979)". Flickchart. Retrieved July 21, 2018.
  75. ^ "Guess Who's Coming to Dinner (1967)". Flickchart. Retrieved July 21, 2018.
  76. ^ "Julia (1977)". Flickchart. Retrieved July 21, 2018.
  77. ^ "The Best Movies Starring Jason Robards". Flickchart. Retrieved July 21, 2018.
  78. ^ "Days of Heaven (1978)". Flickchart. Retrieved July 21, 2018.
  79. ^ "The Best Movies Starring Tom Skerritt". Flickchart. Retrieved July 21, 2018.
  80. ^ "Melvin and Howard (1980)". Flickchart. Retrieved July 21, 2018.
  81. ^ "The Late Show (1977)". Flickchart. Retrieved July 21, 2018.
  82. ^ a b "You're a Big Boy Now (1966)". Flickchart. Retrieved July 21, 2018.
  83. ^ "20 Movies That Prove That The 1970s Was The Best Decade For Film-Page 2-20.Alien". whatculture.com. 7 January 2015. Retrieved July 19, 2018.
  84. ^ a b c d e f "The 10 Greatest Directors of The New Hollywood Era « Taste of Cinema - Movie Reviews and Classic Movie Lists". www.tasteofcinema.com.
  85. ^ a b c d "The 10 Greatest Directors of The New Hollywood Era « Taste of Cinema - Movie Reviews and Classic Movie Lists". www.tasteofcinema.com.
  86. ^ The shallow Hal skims the career of the director behind Harold And Maude and Being There-AV Club
  87. ^ "The Best Movies Directed by John G. Avildsen". Flickchart. Retrieved July 19, 2018.
  88. ^ a b "10 essential New Hollywood directors you should know". Little White Lies. Retrieved July 19, 2018.
  89. ^ "Inner City Hues: The Ralph Bakshi Q&A". Wax Poetics. Retrieved July 19, 2018.
  90. ^ "The China Syndrome (1979)". Flickchart. Retrieved July 21, 2018.
  91. ^ a b c d e f g h i j k l m n o p q r s t u Thompson & Bordwell 2003, p. 528.
  92. ^ a b c d e f g h i j k l m n "A HISTORY OF AMERICAN NEW WAVE CINEMA Part Three: New Hollywood (1967–1969)". newwavefilm.com. Retrieved July 19, 2018.
  93. ^ a b c d "Top 100 Best 70s Movies". filmschoolwtf.com. Retrieved July 19, 2018.
  94. ^ Critical Discussion Transforms Art: Haile Gerima, the L.A. Rebellion and Cinema as Life|PopMatters
  95. ^ Nordine, Michael (April 11, 2017). "Heaven's Gate (1980)". IndieWire. Retrieved March 12, 2018.
  96. ^ a b c d e f g h i j k Michalis Kokonis (February 4, 2009). "Hollywood's Major Crisis and the American Film "Renaissance"" (PDF). Retrieved July 21, 2018.
  97. ^ a b "Night of Vengeance: Wes Craven's 'The Last House on the Left' 43 Years Later". grantland.com. 2 September 2015. Retrieved September 2, 2015.
  98. ^ Richard Donner Appreciation: An Old-School Hit-Maker Who Emerged From New Hollywood|The Wrap
  99. ^ a b c Bernardoni, J. (2001). The New Hollywood: What the Movies Did with the New Freedoms of the Seventies. McFarland, Incorporated, Publishers. p. 14. ISBN 9780786483075. Retrieved July 19, 2018.
  100. ^ "The Top 10 Movies Directed by Walter Hill". Flickchart. Retrieved July 21, 2018.
  101. ^ Aurthur, Kate. "Hollywood's Forgotten Gay Romance". BuzzFeed.
  102. ^ "News - A Never Ending (Love) Story?". www.kino-zeit.de.
  103. ^ Staff, The Playlist (24 April 2014). "10 Great Overlooked Films From The 1970s".
  104. ^ "Hollywood has never matched the gritty masterpieces of the 1970s". Telegraph. Archived from the original on 2022-01-12. Retrieved July 21, 2018.
  105. ^ Damaged Goods: John Landis - BOMB Magazine
  106. ^ Film Comment
  107. ^ Paul Mazursky Dead: A Poetic Farceur of American Lives – Variety
  108. ^ Critical Discussion Transforms Art: Haile Gerima, the L.A. Rebellion and Cinema as Life|PopMatters
  109. ^ a b Kirshner 2012, p. 191.
  110. ^ New Hollywood Rewind: The Birth of the Blockbuster - AlternativeNation.net
  111. ^ Jacobs, Laura (31 May 2018). "The Devil Inside: Watching Rosemary's Baby in the Age of #MeToo". HWD.
  112. ^ Alan Rudolph and Keith Carradine in Conversation on Notebook|MUBI
  113. ^ a b c d e f Robnik, Drehli. "Allegories of post-Fordism in 1970s New Hollywood: Countercultural combat films, conspiracy thrillers as genre-recycling (2004) | Drehli Robnik". The Last Great American Picture Show: 333. Retrieved July 19, 2018.
  114. ^ What is New Hollywood? The Revolution of 1960s and '70s Hollywood|StudioBinder
  115. ^ Hear me out: why 1941 isn't a bad movie|Steven Sielberg|The Guardian
  116. ^ The Darkness of Steven Spielberg - Film School Rejects
  117. ^ a b The Last Great American Picture Show: New Hollywood Cinema in the 1970s on JSTOR
  118. ^ "Remembering Pioneering Film Editor Dede Allen". NPR.org. Retrieved July 21, 2018.
  119. ^ a b "The 30 Greatest Cinematographers of All Time « Taste of Cinema - Movie Reviews and Classic Movie Lists". tasteofcinema.com. Retrieved July 21, 2018.
  120. ^ My Year Of Flops Case File #81 Heaven's Gate|AV Club
  121. ^ eFilmCritic - Bill Butler, Cinematographer - Profile Interview Series Vol.7
  122. ^ Classic Hollywood: This will turn your head around: 'The Excorcist' turns 45 this month-LA Times
  123. ^ "Wendy Carlos - A Clockwork Orange: Wendy Carlos's Complete Original Score - Amazon.com Music". amazon.com. Retrieved July 21, 2018.
  124. ^ A Clockwork Orange - Complete Original Score (1971) - Soundtrack.net
  125. ^ "What Paddy Chayefsky's Notes on 'Network' Teach Us about 'Parenting' a Screenplay". No Film School. 24 April 2018. Retrieved July 21, 2018.
  126. ^ a b c d e f g h i j k l m n o p q r s t u v w x y z Notebook Soundtrack Mix #6: The New Hollywood Mixtape on MUBI
  127. ^ Rumble Fish - Stewart Copeland|AllMusic
  128. ^ Amazon.com: Stewart Copeland - Rumble Fish - Original Motion Picture Soundtrack
  129. ^ "Blow Out Soundtrack (1981)". soundtrack.net. Retrieved July 21, 2018.
  130. ^ "Sorcerer | Film Review". Slant Magazine. 23 May 2014. Retrieved July 21, 2018.
  131. ^ Sorcerer Soundtrack (1977) - Soundtrack.net
  132. ^ "Pat Garrett & Billy the Kid (1973)". Flickchart. Retrieved July 21, 2018.
  133. ^ a b "Watch: 'Siskel And Ebert' Discuss The Lost Classics Of the 1970s". theplaylist.net. Retrieved August 2, 2018.
  134. ^ Robert Evans: The Producer Who Stayed in the Picture - Variety
  135. ^ Robert Evans: passionate midwife to the Hollywood new wave|The Guardian
  136. ^ "William A. Fraker dies at 86; Hollywood cinematographer". Los Angeles Times. June 2, 2010.
  137. ^ "Badlands (1973)-Articles-TCM.com". tcm.com. Retrieved July 21, 2018.
  138. ^ "Chinatown Soundtrack (1974)". soundtrack.net. Retrieved July 21, 2018.
  139. ^ "The 30 Greatest Cinematographers of All Time « Taste of Cinema - Movie Reviews and Classic Movie Lists". tasteofcinema.com. Retrieved July 21, 2018.
  140. ^ Quincy Goes to Hollywood|The Current|The Criterion Collection
  141. ^ "Filmmaker's Handbook: What is the New Hollywood movement?". ScreenPrism. Retrieved July 21, 2018.
  142. ^ a b c d e f g h i j k l "A HISTORY OF AMERICAN NEW WAVE CINEMA Part Three: New Hollywood (1970–1971)". newwavefilm.com. Retrieved July 19, 2018.
  143. ^ Amazon.com Music: Giorgio Moroder - American Gigolo
  144. ^ Midnight Express - Giorgio Moroder|AllMusic
  145. ^ "Days Of Heaven Soundtrack (1978)". soundtrack.net. Retrieved July 21, 2018.
  146. ^ Midnight Cowboy - Original Soundtrack|AllMusic
  147. ^ Midnight Cowboy - Amazon.com Music
  148. ^ "Jack Nitzsche, Jack Nitzsche - One Flew Over The Cuckoo's Nest: Original Soundtrack - Amazon.com Music". amazon.com. Retrieved July 21, 2018.
  149. ^ One Flew Over The Cuckoo's Nest Soundtrack (1975) - Soundtrack.net
  150. ^ "The Exorcist Soundtrack (1973)". soundtrack.net. Retrieved July 21, 2018.
  151. ^ 'You Must Remember This': How an Unfinished Memoir Reveals Polly Platt's Forgotten Hollywood Legacy|IndieWire
  152. ^ "OWEN ROIZMAN | Oscars.org | Academy of Motion Picture Arts and Sciences". oscars.org. 17 October 2017. Retrieved July 21, 2018.
  153. ^ "Bullitt Soundtrack (1968)". soundtrack.net. Retrieved July 21, 2018.
  154. ^ THX 1138 (Original Motion Picture Soundtrack)|AllMusic
  155. ^ "The Conversation Soundtrack (1974)". soundtrack.net. Retrieved July 21, 2018.
  156. ^ 13 Things You Didn't Know About Woodstock|HuffPost
  157. ^ What's the Big Deal?: Raging Bull (1980) - MTV
  158. ^ "The 10 Most Influential Cinematographers of All Time « Taste of Cinema - Movie Reviews and Classic Movie Lists". tasteofcinema.com. Retrieved July 21, 2018.
  159. ^ "'The Last Detail': Hal Ashby and Robert Towne's Slice of the '70s America • Cinephilia & Beyond". cinephiliabeyond.org. 26 April 2016. Retrieved July 21, 2018.
  160. ^ One from the Heart - Tom Waits, Crystal Gale|AllMusic
  161. ^ One From The Heart Soundtrack (1981/2004) - Soundtrack.net
  162. ^ Jon Burlingame (10 January 2018). "John Williams Could Set Another Oscar Record". Variety. Retrieved July 21, 2018.
  163. ^ Jaws (Original Score) - John Williams|AllMusic
  164. ^ "Remembering Legendary Cinematographers Haskell Wexler and Vilmos Zsigmond". American Film Institute. Retrieved July 21, 2018.
  165. ^ Kreps, Daniel (2 July 2016). "Michael Cimino, 'The Deer Hunter' Director, Dead at 77". Rolling Stone.
  166. ^ a b c d e 15 Sleeper Films Of The New Hollywood Era That Are Worth Seeing « Taste of Cinema
  167. ^ "The Chase" – via www.flickchart.com.
  168. ^ a b c d e f g h Thompson & Bordwell 2003, p. 515.
  169. ^ Stevens, Kyle (2011). DiMare, Philip C. (ed.). Who's Afraid of Virginia Woolf?. Movies in American History: An Encyclopedia. Vol. 1. ABC-CLIO. pp. 528–530. ISBN 9781598842968.
  170. ^ "Seconds" – via www.flickchart.com.
  171. ^ "The Shooting" – via www.flickchart.com.
  172. ^ "The Best Movies Directed by Monte Hellman". Flickchart.
  173. ^ "In the Heat of the Night" – via www.flickchart.com.
  174. ^ a b c Thompson & Bordwell 2003, p. 513.
  175. ^ a b c d Harris 2008, p. 1–4.
  176. ^ a b c d e f g h i j k l m n Krämer 2005, p. 8.
  177. ^ "In Cold Blood" – via www.flickchart.com.
  178. ^ "Reflections in a Golden Eye" – via www.flickchart.com.
  179. ^ "The Best Movies Starring Paul Newman". Flickchart.
  180. ^ "Who's That Knocking At My Door" – via www.flickchart.com.
  181. ^ a b Thompson & Bordwell 2003, p. 514.
  182. ^ a b Harris 2008, p. 386.
  183. ^ a b c d e f g 25 New Hollywood Era Films That Projected the Hopes and Fears of the Times
  184. ^ a b c d e f g h i j k l m n o p q r s t u v w x "New American Cinema".
  185. ^ "The Best Movies Directed by John Cassavetes". Flickchart.
  186. ^ "THE SWIMMER - American Cinematheque". www.americancinemathequecalendar.com.
  187. ^ a b c d e f g h i j k l m n o Thompson & Bordwell 2003, p. 516.
  188. ^ a b c d Thompson & Bordwell 2003, p. 517.
  189. ^ Harris 2008, pp. 416–417.
  190. ^ a b Harris 2008, p. 422.
  191. ^ "The Thomas Crown Affair" – via www.flickchart.com.
  192. ^ Kirshner 2012, p. 127.
  193. ^ a b Thompson & Bordwell 2003, p. 530.
  194. ^ a b c d e f g Crawford, Travis (16 December 2010). "Criterion: American Lost and Found: The BBS Story". Filmmaker Magazine. Retrieved February 19, 2013.
  195. ^ a b c d e f g Thompson & Bordwell 2003, p. 518.
  196. ^ a b c d e f g h i j Thompson & Bordwell 2003, p. 519.
  197. ^ a b c d The 30 Most Underappreciated Movies of the New Hollywood Era « Taste of Cinema
  198. ^ "Husbands (1970)". Flickchart. Retrieved 20 April 2020.
  199. ^ M*A*S*H at 50: the Robert Altman comedy that revels in cruel misogyny The Guardian. 21 January 2020.
  200. ^ a b "Return to New Hollywood". March 15, 2006.
  201. ^ "The Landlord (1970)". Flickchart. Retrieved 20 April 2020.
  202. ^ New Hollywood Auteur|wcftr.commarts.wisc.edu
  203. ^ a b 'Woodstock' and 'Zabriskie Point' Are Released on DVD - The New York Times
  204. ^ "A New Leaf (1971)". Flickchart. Retrieved 20 April 2020.
  205. ^ Kirshner 2012, p. 94.
  206. ^ a b c d e The 30 Most Underappreciated Movies of the New Hollywood Era « Taste of Cinema
  207. ^ Nordine, Michael (April 11, 2017). "New Hollywood: 50 Movies That Reshaped the Film Industry: Carnal Knowledge (1971)". IndieWire. Retrieved March 12, 2018.
  208. ^ a b c The 30 Most Underappreciated Movies of the New Hollywood Era « Taste of Cinema
  209. ^ "The Hospital (1971)". Flickchart. Retrieved 20 April 2020.
  210. ^ Hitchman, Simon (2015). "A History of American New Wave Cinema".
  211. ^ "Harold and Maude (1971)". Flickchart. Retrieved 20 April 2020.
  212. ^ Critical Discussion Transforms Art: Haile Gerima, the L.A. Rebellion and Cinema as Life|PopMatters
  213. ^ "THX 1138 (1971)". Flickchart. Retrieved 20 April 2020.
  214. ^ "The Heartbreak Kid (1972)". Flickchart. Retrieved 20 April 2020.
  215. ^ Nordine, Michael (April 11, 2017). "New Hollywood: 50 Movies That Reshaped the Film Industry: Cabaret (1972)". IndieWire. Retrieved March 12, 2018.
  216. ^ Nordine, Michael (April 11, 2017). "New Hollywood: 50 Movies That Reshaped the Film Industry: Deliverance (1972)". IndieWire. Retrieved March 12, 2018.
  217. ^ a b c d The 30 Most Underappreciated Movies of the New Hollywood Era « Taste of Cinema
  218. ^ Nordine, Michael (April 11, 2017). "New Hollywood: 50 Movies That Reshaped the Film Industry: Fat City (1972)". IndieWire. Retrieved March 12, 2018.
  219. ^ 15 Sleeper Films Of The New Hollywood Era That Are Worth Seeing « Taste of Cinema
  220. ^ Krämer 2005, p. 50.
  221. ^ Symmons, Tom (13 June 2016). The New Hollywood Historical Film: 1967-78. p. 61. ISBN 9781137529305.
  222. ^ "The Friends of Eddie Coyle (1973)". Flickchart. Retrieved July 19, 2018.
  223. ^ a b Phipps, Keith. "New Hollywood gumshoes: The Long Goodbye, The Late Show, Night Moves". Film.
  224. ^ 'Hal' Review: A Portrait of Hal Ashby, the fabled 70s Director — Variety
  225. ^ The New Hollywood - Lewis Center for the Arts
  226. ^ Nordine, Michael (April 11, 2017). "New Hollywood: 50 Movies That Reshaped the Film Industry: Paper Moon (1973)". IndieWire. Retrieved March 12, 2018.
  227. ^ Langford 2010, p. 148.
  228. ^ "Blume in Love (1973)". Flickchart. Retrieved 20 April 2020.
  229. ^ Nordine, Michael (April 11, 2017). "New Hollywood: 50 Movies That Reshaped the Film Industry: Serpico (1973)". IndieWire. Retrieved March 12, 2018.
  230. ^ Three Takes #2: James William Guerico's "Electra Glide in Blue" on Notebook|MUBI
  231. ^ Wolfe, Denise (28 July 2014). ""Alice Doesn't Live Here Anymore" - 1974: New Hollywood's Golden Year". Purple Clover.
  232. ^ "Thieves Like Us (1974)". Flickchart. Retrieved 20 April 2020.
  233. ^ Robert Altman|NE Film Center
  234. ^ a b c d Perno, G.S. (September 20, 2015). "Trends in 70's Cinema: New Hollywood". Cinelinx. Retrieved March 12, 2018.
  235. ^ "The Taking of Pelham One Two Three (1974)". Flickchart. Retrieved July 25, 2018.
  236. ^ Bert Schneider, 1933 - 2011 on Notebook|MUBI
  237. ^ Nordine, Michael (April 11, 2017). "New Hollywood: 50 Movies That Reshaped the Film Industry: Dog Day Afternoon (1975)". IndieWire. Retrieved March 12, 2018.
  238. ^ Cheever, Abigail (June 11, 2018). "Unpredictable: Three Days of the Condor, Information Theory, and The Remaking of Professional Ideology". Post45. Retrieved March 11, 2020.
  239. ^ a b c d e f Thompson & Bordwell 2003, p. 527.
  240. ^ The Darkness of Steven Spielberg - Film School Rejects
  241. ^ a b Harris 2008, p. 419.
  242. ^ Symmons, Tom (2016). The 'New Wave' and 'Old Hollywood': The Day of the Locust (1975), 'Movies About the Movies' and the Generational Divide. pp. 21–56. doi:10.1057/978-1-137-52930-5_2. ISBN 978-1-137-52929-9.
  243. ^ Thompson & Bordwell 2003, p. 617.
  244. ^ "Mikey and Nicky (1976)". Flickchart. Retrieved 20 April 2020.
  245. ^ Nordine, Michael (April 11, 2017). "New Hollywood: 50 Movies That Reshaped the Film Industry: All the President's Men (1976)". IndieWire. Retrieved March 12, 2018.
  246. ^ Brayton, Tim (June 11, 2015). "Summer of Blood: New Hollywood Horror - Little devil". Alternative Ending. Retrieved March 12, 2018.
  247. ^ a b c d e Filmmuseum - Program SD
  248. ^ New Hollywood: 50 Movies That Reshaped the Film Industry|IndieWire
  249. ^ Nordine, Michael (April 11, 2017). "New Hollywood: 50 Movies That Reshaped the Film Industry: Annie Hall (1977)". IndieWire. Retrieved March 12, 2018.
  250. ^ Shail, Robert (July 25, 2019). Seventies British Cinema. United Kingdom: Bloomsbury Publishing. p. 33. ISBN 9781838718060.
  251. ^ "The Late Show" – via www.flickchart.com.
  252. ^ Nordine, Michael (April 11, 2017). "New Hollywood: 50 Movies That Reshaped the Film Industry: Looking for Mr. Goodbar (1977)". IndieWire. Retrieved March 12, 2018.
  253. ^ "New York, New York (1977)". Flickchart. Retrieved 20 April 2020.
  254. ^ "Opening Night (1977)". Flickchart. Retrieved 20 April 2020.
  255. ^ Nordine, Michael (April 11, 2017). "Sorcerer (1977)". IndieWire. Retrieved March 12, 2018.
  256. ^ "Coming Home (1978)". Flickchart. Retrieved 20 April 2020.
  257. ^ "F.I.S.T" – via www.flickchart.com.
  258. ^ "Big Wednesday (1978)". Flickchart. Retrieved 20 April 2020.
  259. ^ "Invasion of the Body Snatchers (1978)". Flickchart. Retrieved 20 April 2020.
  260. ^ Midnight Express (1978) - Flickchart
  261. ^ Nordine, Michael (April 11, 2017). "All That Jazz (1979)". IndieWire. Retrieved March 12, 2018.
  262. ^ "...and justice for all" – via www.flickchart.com.
  263. ^ "Being There (1979)". Flickchart. Retrieved 20 April 2020.
  264. ^ "Kramer vs. Kramer(1979)". Flickchart. Retrieved November 23, 2018.
  265. ^ "Manhattan (1979)". Flickchart. Retrieved November 23, 2018.
  266. ^ "Wise Blood (1979)". Flickchart. Retrieved July 21, 2018.
  267. ^ "Raging Bull (1980)". Flickchart. Retrieved November 11, 2020.
  268. ^ Nordine, Michael (April 11, 2017). "Cruising (1980)". IndieWire. Retrieved March 12, 2018.
  269. ^ Thompson & Bordwell 2003, p. 521.
  270. ^ Nordine, Michael (April 11, 2017). "Heaven's Gate (1980)". IndieWire. Retrieved March 12, 2018.
  271. ^ "Blow Out (1981)". Flickchart.
  272. ^ a b Thompson & Bordwell 2003, p. 524.
  273. ^ The Darkness of Steven Spielberg - Film School Rejects
  274. ^ Thompson & Bordwell 2003, p. 621.
  275. ^ Saporito, Jeff (July 14, 2016). "The Filmmaker's Handbook: What was the New Hollywood movement". Screen Prism. Retrieved March 12, 2018.
  276. ^ directorsseries (8 May 2017). "Francis Ford Coppola's "One From The Heart" (1982)".
  277. ^ "The King of Comedy" – via www.flickchart.com.

Bibliography[edit]

  • Biskind, Peter (1998). Easy Riders, Raging Bulls: How the Sex-Drugs-And Rock 'N Roll Generation Saved Hollywood. New York: Simon & Schuster. ISBN 978-0-684-85708-4.
  • Biskind, Peter (1990). The Godfather Companion: Everything You Ever Wanted to Know About All Three Godfather Films (HarperPerennial)
  • Belton, John (1993). American Cinema/American Culture. New York: McGraw/Hill.
  • Berliner, Todd (2010). Hollywood Incoherent: Narration in Seventies Cinema. Austin, TX: University of Texas Press.
  • Cook, David A. "Auteur Cinema and the film generation in 70s Hollywood", in The New American Cinema. Ed. by Jon Lewis. NY: Duke University Press, 1998, pp. 1–37
  • Harris, Mark (2008). Pictures at a Revolution: Five Movies and the Birth of the New Hollywood. New York: Penguin Press. ISBN 978-1-594-20152-3.
  • Harris, Mark. Scenes from a Revolution: The Birth of the New Hollywood. Canongate Books, 2009.
  • James, David E. Allegories of Cinema: American Film in the Sixties. NY: Princeton University Press, 1989, pp. 1–42
  • Kael, Pauline. "Bonnie and Clyde", in For Keeps. Ed. by Pauline Kael. NY: Plume, 1994, pp. 141–57.
  • Kael, Pauline. "Trash, Art, and the Movies", in Going Steady: Film Writings 1968–69. NY: Marion Boyers, 1994, pp. 87–129
  • Kanfer, Stefan, "The Shock of Freedom in Films", Time Magazine, Dec 8, 1967, Accessed 25 April 2009, [1]
  • King, Geoff (2002). New Hollywood Cinema: An Introduction. London: I.B. Tauris. ISBN 9781860647499.
  • Kirshner, Jonathan. Hollywood's Last Golden Age: Politics, Society, and the Seventies Film in America. Ithaca: Cornell University Press, 2012. ISBN 978-0801478161
  • Krämer, Peter (2005). The New Hollywood: From Bonnie and Clyde to Star Wars. Wallflower Press. ISBN 978-1-904764-58-8.
  • Langford, Barry (2010). Post-classical Hollywood: Film Industry, Style and Ideology Since 1945. Edinburgh University Press. ISBN 978-0748638574.
  • Monaco, Paul (2001). The Sixties, 1960–69, History of American Cinema. London: University of California Press.
  • Schatz, Thomas (1993). "The New Hollywood". In Jim Collins, Hilary Radner and Ava Preacher Collins (ed.). Film Theory goes to the Movies. New York: Routledge. pp. 8–37.
  • Thompson, Kristin & Bordwell, David (2003). Film History: An Introduction (2nd ed.). McGraw–Hill.

External links[edit]

source: https://web.archive.org/web/20220312170148/https://en.wikipedia.org/wiki/American_New_Wave

Leave a Reply