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{{short description| |
{{short description|American film movement between the mid-1960s and early 1980s}} |
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{{Infobox Film Movement |
{{Infobox Film Movement |
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| name = New Hollywood |
| name = New Hollywood |
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| image = |
| image = File:Bonnie_and_Clyde_(1967_teaser_poster).jpg |
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| caption = ''[[Bonnie and Clyde (film)|Bonnie and Clyde]]'' (1967), one of the films that defined New Hollywood |
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| caption = |
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| yearsactive = Mid-1960s to early 1980s |
| yearsactive = Mid-1960s to early 1980s |
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| country = United States |
| country = United States |
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| influences = |
| influences = |
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* [[Classical Hollywood cinema]] |
* [[Classical Hollywood cinema]] |
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* [[French New Wave]]<ref>{{Cite web|url=https://www.newwavefilm.com/international/new-hollywood.shtml#:~:text=They%20were%20influenced%2C%20not%20by,of%20the%20French%20New%20Wave.|title=New Hollywood: American New Wave|website=www.newwavefilm.com}}</ref> |
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* [[French New Wave]] |
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* [[Italian cinema]] |
* [[Italian cinema]] |
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* [[Japanese cinema]] |
* [[Japanese cinema]] |
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* [[Art film]] |
* [[Art film]] |
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* [[Experimental film]] |
* [[Experimental film]]<ref name="60smeltingpot"/> |
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* [[Direct Cinema]] |
* [[Direct Cinema]] |
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* [[Golden Age of Television]] |
* [[Golden Age of Television|Golden Age of Television (1950s)]] |
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* [[B movies]] |
* [[B movies]] |
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* |
* [[List of American independent films|American independent film]]<ref name="filmsite.org">{{Cite web|url=https://www.filmsite.org/70sintro.html|title=Film History of the 1970s|website=www.filmsite.org}}</ref> |
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| influenced = |
| influenced = |
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*[[Cinéma du look]] |
* [[Cinéma du look]] |
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*[[Poliziotteschi]] |
* [[Poliziotteschi]] |
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*[[American Eccentric Cinema]] |
* [[American Eccentric Cinema]] |
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* [[Golden Age of Television (2000s–present)|Peak TV]]<ref>[https://www.theguardian.com/film/2019/aug/09/francis-ford-coppola-apocalypse-now-is-not-an-anti-war-film Francis Ford Coppola: 'Apocalypse Now is not an anti-war film'|The Guardian]</ref><ref name="thenation.com"/> |
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'''New Hollywood''', |
The '''New Hollywood''', '''Hollywood Renaissance''', '''American New Wave''', or '''New American Cinema''' (not to be confused with the [[New American Cinema]] of the 1960s that was part of [[Experimental film|avant-garde]] [[underground film|underground cinema]]), was a movement in [[Cinema of the United States|American film history]] from the mid-1960s to the early 1980s, when a new generation of filmmakers came to prominence. They influenced the types of film produced, their production and marketing, and the way major studios approached filmmaking.<ref>{{Cite web|url=https://stacker.com/stories/1366/50-best-movies-1970s|title=50 best movies from the 1970s|website=Stacker}}</ref> In New Hollywood films, the film director, rather than the studio, took on a key [[Auteur theory|authorial]] role. |
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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 [[Auteur theory|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 Hollywood Cinema|classical]] norms. After the demise of the studio system and the rise of television, the commercial success of films was diminished. |
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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 deviated from [[Classical Hollywood Cinema|classical]] norms. After the demise of the [[studio system]] and the rise of television, the commercial success of films was diminished. |
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Successful films of the early New Hollywood era include ''[[Bonnie and Clyde (film)|Bonnie and Clyde]]'', ''[[The Graduate]]'', ''[[Night of the Living Dead]]'', ''[[The Wild Bunch]]'', and ''[[Easy Rider]]'', while films that failed at the box office including ''[[Heaven's Gate (film)|Heaven's Gate]]'' and ''[[One from the Heart]]'' marked the end of the era. |
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Successful films of the early New Hollywood era include ''[[Bonnie and Clyde (film)|Bonnie and Clyde]]'', ''[[The Graduate]]'',<ref name="10classicswedliketoforget">[https://lamag.com/news/the-top-10-underrated-movies-and-10-classics-wed-like-to-forget The Top 10 Underrated Movies ... and 10 Classics We'd Like to Forget – LAmag]</ref> ''[[Rosemary's Baby (film)|Rosemary's Baby]]'', ''[[Night of the Living Dead]]'', ''[[The Wild Bunch]]'', and ''[[Easy Rider]]'' while films that failed at the box office such as ''[[New York, New York (1977 film)|New York, New York]]'', ''[[Sorcerer (film)|Sorcerer]]'', ''[[Heaven's Gate (film)|Heaven's Gate]]'', ''[[They All Laughed]]'' and ''[[One from the Heart]]'' marked the end of the era.<ref name="wildesteverthriller?"/><ref name="onemoviekilledthe80s">[https://www.youtube.com/watch?v=NM0VsX1mdL8 How One Movie Killed The 1980s – Patrick (H) Willems on YouTube]</ref> |
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==History== |
==History== |
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=== Background === |
=== Background === |
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Following the [[United States v. Paramount Pictures, Inc.|Paramount Case]] (which ended block booking and ownership of theater chains by film studios) and the advent of [[television]], 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 film|3-D]], were invented in order to retain the dwindling audience and compete with television. However, these were generally unsuccessful in increasing profits.<ref>David E James, Allegories of Cinema, American film in the Sixties, Princeton University Press, New York, 1989, pp. 14–26</ref> By 1957, ''Life'' magazine called the 1950s "the horrible decade" for Hollywood.<ref name="hodgins19570610"/> |
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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".<ref name="hodgins19570610">{{cite news | url=https://books.google.com/books?id=Nz8EAAAAMBAJ&pg=PA146 | title=Amid Ruins of an Empire a New Hollywood Arises | work=Life | date=1957-06-10 | access-date=April 22, 2012 | author=Hodgins, Eric | page=146}}</ref> 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! (film)|Hello, Dolly!]]'', and failed attempts to replicate the success of ''[[The Sound of Music]]'', put great strain on the studios.<ref>{{harvp|Schatz|1993|pp=15–20}}</ref> |
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| quote = In fact, ''[[The Wild Angels]]'' was kind of a... it was a big success for the ''New Hollywood''. It was [[Roger Corman]], it was [[Peter Fonda]], [[Nancy Sinatra]], it was a New Hollywood kind of movie, and it was very anti-the Old Hollywood, it was very hard-edged, violent, you know, it was not at all an Old Hollywood movie. And I didn't, I wasn't particularly aware of it. Then the following year was ''[[Bonnie and Clyde (film)|Bonnie and Clyde]]''. ''[[Shadows (1959 film)|Shadows]]'' had come out in the early '60s, so that was really the first sign of a kind of off-Hollywood movement.<ref>{{cite web|last1=Bogdanovich|first1=Peter|title=Peter Bogdanovich Chapter 2|url=https://www.dga.org/VideoHTMLNew.ashx?id=%7B7E5B3CC6-ABA4-4C90-A560-649207737F1F%7D&db=web}}</ref><br> – [[Peter Bogdanovich]] |
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Following the [[United States v. Paramount Pictures, Inc.|Paramount Case]] (which ended block booking and ownership of theater chains by film studios) and the advent of television (where [[Rod Serling]], [[John Frankenheimer]], [[Arthur Penn]], [[Paddy Chayefsky]] and [[Sidney Lumet]]<ref>[http://wcftr.commarts.wisc.edu/exhibits/golden-age-television/sharper-picture-revisiting-anthology-drama A Sharper Picture: Revisiting Anthology Drama|wcftr.commarts.wisc.edu]</ref><ref name=teleplaywrights>[http://wcftr.commarts.wisc.edu/exhibits/golden-age-television/tele-playwrights The Tele-Playwrights|wcftr.commarts.wisc.edu/]</ref><ref>[https://www.dvdtalk.com/dvdsavant/s3063tele.html DVD Savant Review: The Golden Age of Television – DVD Talk]</ref><ref>[https://www.learner.org/series/american-cinema/film-in-the-television-age/ Film in the Television Age – Annenberg Learner]</ref><ref name="influentalgoldenaage">[https://www.history.com/news/classic-tv-shows-1950s-i-love-lucy-milton-berle The Most Influential Classic Shows from TV's 'Golden Age'|HISTORY]</ref><ref name="wcftr.commarts.wisc.edu">{{Cite web |url=http://wcftr.commarts.wisc.edu/exhibits/golden-age-television/playhouse-90-and-end-golden-age |title=Playhouse 90 and the End of the Golden Age{{!}}wcftr.commarts.wisc.edu |access-date=2023-12-30 |archive-date=2022-05-22 |archive-url=https://web.archive.org/web/20220522113319/https://wcftr.commarts.wisc.edu/exhibits/golden-age-television/playhouse-90-and-end-golden-age |url-status=dead }}</ref><ref name=goldenagewcftr>[http://wcftr.commarts.wisc.edu/exhibits/golden-age-television The Golden Age of Television|wcftr.commarts.wisc.edu]</ref> worked in their earlier years) both of which severely weakened both the traditional [[studio system]] and Motion Picture Production Code (or the [[Hays Code]]) 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 film|3-D]], were invented to retain the dwindling audience and compete with television. However, these were generally unsuccessful in increasing profits.<ref>David E James, Allegories of Cinema, American Film in the Sixties, Princeton University Press, New York, 1989, pp. 14–26</ref> By 1957, ''Life'' magazine called the 1950s "the horrible decade" for Hollywood. It was dubbed a "New Hollywood" by a press.<ref name="hodgins19570610">{{cite magazine | url=https://books.google.com/books?id=Nz8EAAAAMBAJ&pg=PA146 | title=Amid Ruins of an Empire a New Hollywood Arises | magazine=Life | date=June 10, 1957 | access-date=April 22, 2012 | author=Hodgins, Eric | page=146}}</ref> |
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In the 1950s and early 1960s, Hollywood was dominated by musicals, historical epics, and other films that benefited from the larger screens, wider framing, and improved sound. However, audience shares continued to dwindle, and had reached alarmingly low levels by the mid-1960s. Several costly flops, including ''[[Tora! Tora! Tora!]]'',<ref name="filmschoolwtf.com"/> [[Gene Kelly]]'s adaptation of ''[[Hello, Dolly! (film)|Hello, Dolly!]]'' and the [[Julie Andrews]] vehicle ''[[Star! (film)|Star!]]'', each failed attempts to replicate the success of ''[[Mary Poppins (film)|Mary Poppins]]'', ''[[Doctor Zhivago (film)|Doctor Zhivago]]'' and ''[[The Sound of Music (film)|The Sound of Music]]'', put great strain on the studios.<ref>{{harvp|Schatz|1993|pp=15–20}}</ref><ref name="nach1968"/><ref>[https://www.google.com/books/edition/American_Films_of_the_70s/UmPdEg5fVkQC?hl=en&gbpv=1 American Films of the 70s: Conflicting Visions - Google Books (pg. "Introduction: "Nobody Knows Anything")]</ref> |
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By the time the [[baby boomer]] generation was coming of age in the 1960s, "[[Classical Hollywood cinema|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.<ref>{{harvp|Belton|1993|p=290}}</ref> [[European cinema|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.<ref>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</ref><ref name="time.com">Stefan Kanfer, The Shock of Freedom in Films, Time Magazine, Dec 8, 1967, Accessed 25 April 2009, [http://www.time.com/time/magazine/article/0,9171,844256-7,00.html]</ref> |
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By the time the [[Baby boomers|Baby Boomer]] generation started to come of age in the 1960s, "[[Classical Hollywood cinema|Old Hollywood]]" was rapidly losing money; the studios were unsure how to react to the much-changed audience demographics. The change in the 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.<ref>{{harvp|Belton|1993|p=290}}</ref> [[European cinema|European]] films, both arthouse and commercial (especially the [[Commedia all'italiana]], the [[French New Wave]], the [[Spaghetti Western]]), and [[Japanese cinema]]<ref name="rafelsonap"/> were making a splash in the 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.<ref>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</ref><ref name="Time">{{Cite web|url=http://www.time.com/time/magazine/article/0,9171,844256-7,00.html|title=Arthur Penn's 'Bonnie and Clyde': A New Style of Film – TIME|date=April 21, 2011|archive-url=https://web.archive.org/web/20110421081549/http://www.time.com/time/magazine/article/0,9171,844256-7,00.html |archive-date=2011-04-21 }}</ref> |
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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.<ref>{{harvp|Schatz|1993|pp=14–16}}</ref> 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 (some of whom were mentored by [[Roger Corman]]) and allowed them to make their films with relatively little studio control. This, together with the breakdown of the Production Code in 1966 and the new ratings system in 1968 (reflecting growing market segmentation) set the scene for New Hollywood.<ref>{{harvp|Schatz|1993}}</ref> |
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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.<ref name="harvp|Schatz|1993|pp=14–16">{{harvp|Schatz|1993|pp=14–16}}</ref> Therefore, in an attempt to capture that audience that 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]]<ref>[https://www.criterion.com/current/posts/8472-roger-corman-hectic-maddening-but-fun Roger Corman: "Hectic, Maddening, but Fun"|Current|The Criterion Collection]</ref><ref name="filmsite.org"/> 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]]''<ref>[https://books.google.com/books?id=VKhqh3HFH8AC&q=wild%20guitar From the Arthouse to the Grindhouse – Google Books (pg.192)]</ref> and the 1963 horror [[musical film|musical flick]] ''[[The Incredibly Strange Creatures Who Stopped Living and Became Mixed-Up Zombies]]''.<ref name=GUARDIAN2>{{cite news |last=Patterson |first=John |date=January 6, 2016 |title=Vilmos Zsigmond: the cinematographer who transformed how films look|url=https://www.theguardian.com/film/2016/jan/06/vilmos-zsigmond-cinematographer-film-hollywood-easy-rider |work=The Guardian |location=London, United Kingdom |access-date=November 1, 2018}}</ref> This, together with the breakdown of the Hays Code<ref name="newhollywoodbackstage">[https://www.backstage.com/magazine/article/new-hollywood-movies-explained-77096/ New Hollywood: Movies, Directors, and Influences of the Era|Backstage]</ref> following the [[Freedman v. Maryland]] court case in 1965 and the new ratings system in 1968 (reflecting growing market segmentation) set the scene for the New Hollywood.<ref>{{harvp|Schatz|1993}}</ref> |
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===''Bonnie and Clyde''=== |
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A defining film of the New Hollywood generation was ''[[Bonnie and Clyde (film)|Bonnie and Clyde]]'' (1967).<ref name="auto">{{cite web|url=http://www.afi.com/silver/new/nowplaying/2011/v8i3/penn.aspx|title=AFI Silver Theatre and Cultural Center|website=www.afi.com}}</ref> |
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===''Bonnie and Clyde''=== |
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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 Award]]s for [[Academy Award for Best Supporting Actress|Best Supporting Actress]] ([[Estelle Parsons]])<ref>[https://www.youtube.com/watch?v=KXKBCFosizM Estelle Parsons winning Best Supporting Actress-Oscars on YouTube]</ref> and [[Academy Award for Best Cinematography|Best Cinematography]].<ref>[https://www.youtube.com/watch?v=A6JpLGrhItM Burnett Guffey winning the Oscar® for cinematography for "Bonnie and Clyde"-Oscars on YouTube]</ref><ref>[https://www.oscars.org/oscars/ceremonies/1968 1968|Oscars.org]</ref> |
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A defining film of the New Hollywood generation was ''[[Bonnie and Clyde (film)|Bonnie and Clyde]]'' (1967).<ref name="auto">{{cite web|url=http://www.afi.com/silver/new/nowplaying/2011/v8i3/penn.aspx|title=AFI Silver Theatre and Cultural Center|website=www.afi.com}}</ref> 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 eventually won [[Academy Award]]s for [[Academy Award for Best Supporting Actress|Best Supporting Actress]] ([[Estelle Parsons]])<ref>{{Cite web|url=https://www.youtube.com/watch?v=KXKBCFosizM|title=Estelle Parsons winning Best Supporting Actress|date=March 29, 2011 |via=www.youtube.com}}</ref> and [[Academy Award for Best Cinematography|Best Cinematography]].<ref>{{Cite web|url=https://www.youtube.com/watch?v=A6JpLGrhItM|title=Burnett Guffey winning the Oscar® for Cinematography for "Bonnie and Clyde"|date=November 7, 2013 |via=www.youtube.com}}</ref><ref>{{Cite web|url=https://www.oscars.org/oscars/ceremonies/1968|title=The 40th Academy Awards | 1968|website=Oscars.org | Academy of Motion Picture Arts and Sciences|date=October 4, 2014 }}</ref> |
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When [[Jack L. Warner]], then-CEO of [[Warner Bros.]], first saw a rough cut of ''[[Bonnie and Clyde (film)|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 (magazine)|Time]]'' and ''Newsweek'' magazines, were equally dismissive.<ref name="newwave"> |
When [[Jack L. Warner]], then-CEO of [[Warner Bros.]], first saw a rough cut of ''[[Bonnie and Clyde (film)|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 (magazine)|Time]]'' and ''Newsweek'' magazines, were equally dismissive.<ref name="newwave">{{Cite web|url=http://www.newwavefilm.com/international/new-hollywood.shtml|title=New Hollywood: American New Wave Cinema (1967–69)|website=www.newwavefilm.com}}</ref> |
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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'').<ref>{{harvp|Biskind|1998|pp=40–47}}</ref> 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 |
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'').<ref>{{harvp|Biskind|1998|pp=40–47}}</ref> 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 empathize with the gang of criminals in terms of their naiveté and innocence reflecting a change in expectations of American cinema.<ref>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</ref> |
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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 |
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 honored 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."<ref name="Time" /> 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.<ref>{{harvp|Biskind|1998}}</ref> 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. |
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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 (film)|Paper Moon]]'', ''[[Dog Day Afternoon]]'', ''[[Chinatown (1974 film)|Chinatown]]'', and ''[[Taxi Driver]]'' among others, enjoyed enormous critical and commercial success. These successes by the members of New Hollywood led each of them in turn to make more and more extravagant demands, both on the studio and eventually on the audience. |
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 (film)|Paper Moon]]'', ''[[Dog Day Afternoon]]'', ''[[Chinatown (1974 film)|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. |
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== Characteristics == |
== Characteristics == |
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[[File:Bonnie_and_Clyde_(1967_promo_photo_-_Dunaway_%26_Beatty).jpg|thumb|''[[Bonnie and Clyde (film)|Bonnie and Clyde]]'' (1967)]] |
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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—[[actor]]s, [[screenwriter|writers]] and [[film director|directors]]—dubbed the "New Hollywood" by the press, briefly changed the business from the [[film producer|producer]]-driven Hollywood system of the past. |
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[[File:Zombies_NightoftheLivingDead.jpg|thumb|''[[Night of the Living Dead]]'' (1968)]] |
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[[File:Discovery_One_from_trailer_of_2001_A_Space_Odyssey_(1968).png|thumb|''[[2001: A Space Odyssey]]'' (1968)]] |
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The new generation of Hollywood filmmakers was most importantly, from the studios' view, young, therefore able to reach the youth audience they were losing. This collective of actors, screenwriters and directors, dubbed the "New Hollywood" by the press, briefly changed the business from the producer-driven Hollywood system of the past as Todd Berliner has written about the period's unusual narrative practices. |
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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: |
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* 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. |
* 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. |
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* 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. |
* 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. |
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* 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 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. |
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* Seventies cinema hinders narrative linearity and momentum and scuttles its potential to generate suspense and excitement.<ref>{{harvp|Berliner|2010|pp=51–52}}</ref> |
* Seventies cinema hinders narrative linearity and momentum and scuttles its potential to generate suspense and excitement.<ref>{{harvp|Berliner|2010|pp=51–52}}</ref> |
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Seventies cinema also dealt with masculine crises featuring flawed male characters, downbeat conclusions and pessimistic subject matters<ref>[https://filmschoolrejects.com/john-frankenheimers-seconds-the-loneliest-studio-film-of-the-1960s-92cfac80c1ff/ John Frankenheimer's 'Seconds': The Loneliest Studio Film of the 1960s – Film School Rejects]</ref><ref name="newhollywoodspirit">[https://variety.com/2023/awards/spotlight/armageddon-time-inspection-1235483354/ How New Hollywood Spirit Lives in 'Armageddon Time,' 'The Inspection' and 'Vengeance' – Variety]</ref><ref name="june1977"/><ref name="nach1968"/><ref>[https://reverseshot.org/features/3023/cinema_spec_QT Features - Reverse Shot]</ref><ref name="oldnewhollywood"/> alongside hard-nosed depictions of a America reeling from tense conflicts like [[The Vietnam War]] and President [[Richard Nixon]]'s [[Watergate scandal]].<ref name="shadowcinemaofamerican70s"/> |
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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".<ref>{{harvp|Schatz|1993|pp=22}}</ref> |
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".<ref>{{harvp|Schatz|1993|pp=22}}</ref> |
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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. |
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 atmosphere.<ref>{{Cite web|url=https://theculturetrip.com/north-america/usa/new-york/new-york-city/articles/the-10-best-gritty-new-york-films-from-the-1970s/|title=The 11 Best Gritty New York Films from the 1970s|first=J. W.|last=McCormack|date=May 1, 2018|website=Culture Trip}}</ref><ref name="fordtocity"/><ref name="amny70s"/> |
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Because of breakthroughs in film technology (e.g. the [[Panavision]] [[Panavision cameras|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 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. |
Because of breakthroughs in film technology (e.g. the [[Panavision]] [[Panavision cameras|Panaflex]] camera, introduced in 1972; the [[Steadicam]], introduced in 1976), 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.<ref name="Filmmuseum - Program SD">{{Cite web|url=https://www.filmmuseum.at/en/film_program/scope?schienen_id=200030|title=Filmmuseum – Program SD|website=www.filmmuseum.at}}</ref> |
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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 |
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 film|experimental]] [[collage film]]maker [[Bruce Conner]]<ref>{{Cite news|url=https://www.nytimes.com/2008/07/12/movies/12conn.html|title=An Artist of the Cutting-Room Floor|first=Manohla|last=Dargis|newspaper=The New York Times |date=July 12, 2008}}</ref><ref>{{Cite web|url=https://dangerousminds.net/comments/bruce_conner_artist_shaped_our_world|title=Bruce Conner: The Artist Who Shaped Our World|date=June 25, 2011|website=DangerousMinds}}</ref><ref>{{Cite web|url=https://www.utne.com/arts/bruce-conner-father-of-the-music-video/|title=Bruce Conner: Father of the Music Video – Utne|date=October 2, 2013|website=www.utne.com}}</ref>) 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 (film)|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 (film)|2001: A Space Odyssey]]''.<ref>{{harvp|Monaco|2001|p=183}}</ref><ref>{{Cite web|url=https://ew.com/books/2018/04/02/space-odyssey-book-excerpt/|title=Why '2001: A Space Odyssey' was a masterpiece so ahead of its time|first1=David Canfield|last1=April 02|first2=2018 at 10:15 am|last2=EDT|website=EW.com}}</ref> Also influential were the works of experimental filmmakers [[Arthur Lipsett]],<ref>{{Cite web|url=https://blog.nfb.ca/blog/2016/10/05/arthur-lipsett-week/|title=Arthur Lipsett: Inside His Disturbed & Disturbing Collage Films|date=October 5, 2016}}</ref> [[Stan Brakhage]],<ref name="60smeltingpot"/> [[Bruce Baillie]],<ref>{{Cite news|url=https://www.nytimes.com/2020/04/10/movies/bruce-baillie-essential-avant-garde-filmmaker-dies-at-88.html|title=Bruce Baillie, 'Essential' Avant-Garde Filmmaker, Dies at 88|first=J.|last=Hoberman|newspaper=The New York Times |date=April 10, 2020}}</ref> [[Jordan Belson]],<ref name="atacrossroads">[https://www.cinematheque.fr/expositions-virtuelles/kubrick/item.php?id=23&lang=en Stanley Kubrick, at the Crossroads of a Work – La cinémathèque française]</ref><ref name="kubricksspaceodyessey"/> [[John Whitney (animator)|John Whitney]],<ref name="kubricksspaceodyessey">[https://movingimage.org/feature/2001-a-space-odyssey/ Kubrick's Space Odyssey – Museum of the Moving Image]</ref> [[Scott Bartlett]],<ref>[https://www.spectacletheater.com/scott-bartlett/ Scott Bartlett: The Meaning of the Universe – Spectacle Theater]</ref> [[Maya Deren]] and [[Kenneth Anger]]<ref name="60smeltingpot">[https://jonathanrosenbaum.net/2022/07/new-hollywood-and-the-60s-melting-pot/ "New Hollywood" and the 60s Melting Pot|Jonathan Rosenbaum]</ref> with their combinations of music and imagery and each were cited by [[George Lucas]], [[Francis Ford Coppola]] and [[Martin Scorsese]] as influences.<ref>{{Cite web|url=https://www.undergroundfilmjournal.com/martin-scorsese-champion-of-the-underground/|title=Martin Scorsese: Champion Of The Underground|date=January 20, 2010|website=Underground Film Journal}}</ref><ref name="hownewhollywoodcreatedamericanindie">[https://nofilmschool.com/2016/11/watch-how-new-hollywood-created-the-american-indie Watch: How New Hollywood Created the American Indie – No Film School]</ref> The New Hollywood generation of directors and screenwriters (each educated at either [[University of Southern California|USC]], [[UCLA]], [[NYU]] and [[American Film Institute|AFI]]<ref name="postfordist"/>) such as Coppola, Lucas, Scorsese, [[Steven Spielberg]], [[John Milius]] and [[Paul Schrader]]<ref>{{Cite book |last=Pye |first=Michael |title=The movie brats: how the film generation took over Hollywood |last2=Myles |first2=Lynda |date=1979 |publisher=Faber |isbn=978-0-571-11383-5 |location=London [etc.] |pages=7–9}}</ref> were sometimes jokingly labeled as "Movie Brats" or "[[Young Turks]]".<ref>{{Cite news |last=Petit |first=Chris |date=2003-04-05 |title=Beyond Hollywood |url=https://www.theguardian.com/books/2003/apr/05/highereducation.news1 |access-date=2024-10-22 |work=The Guardian |language=en-GB |issn=0261-3077}}</ref> |
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The end of the production code enabled New Hollywood films to feature anti-establishment political themes, the use of |
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.<ref>{{harvp|Schatz|1993|pp=12–22}}</ref> The youth movement of the 1960s turned anti-heroes like ''Bonnie and Clyde'' and ''[[Cool Hand Luke]]'' into pop-culture idols, and [[Life (magazine)|''Life'']] magazine called the characters in ''Easy Rider'' "part of the fundamental myth central to the counterculture of the late 1960s."<ref name="Monaco_182_188">{{harvp|Monaco|2001|pp=182–188}}</ref> ''Easy Rider'' also affected the way studios looked to reach the youth market.<ref name="Monaco_182_188"/> 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.<ref>{{harvp|Belton|1993|p=288}}</ref> |
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==Interpretations on defining the movement== |
==Interpretations on defining the movement== |
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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 (film)|Jaws]]'' and ''[[Star Wars]]'' led to the realization by studios of the importance of blockbusters, advertising and control over production.<ref>{{harvp|Biskind|1998|p=288}}</ref> |
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 (film)|Jaws]]'' and ''[[Star Wars (film)|Star Wars]]'' led to the realization by studios of the importance of [[Blockbuster (entertainment)|blockbusters]], advertising and control over production (even though the success of ''[[The Godfather]]'' was said to be the precursor to the blockbuster phenomenon).<ref>{{harvp|Biskind|1998|p=288}}</ref><ref>{{Cite web|url=https://www.boxofficepro.com/century-in-exhibition-1970s-boxoffice-history/|title=A Century in Exhibition—The 1970s: A New Hope|date=November 27, 2020|website=Boxoffice}}</ref> |
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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.<ref>Pauline Kael, "Trash, Art, and the Movies" in Going Steady, Film Writings 1968–69, Marion Boyers, New York, 1994, pp. 125–7</ref> |
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.<ref>Pauline Kael, "Trash, Art, and the Movies" in Going Steady, Film Writings 1968–69, Marion Boyers, New York, 1994, pp. 125–7</ref> She also compared this era of cinema to "tangled, bitter flowering of American letters in the 1850s".<ref name="whenmoviesmattered"/> |
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Filmmaker [[Quentin Tarantino]] identified in his 2022 book ''[[Cinema Speculation]]'' that:<ref name="onemoviekilledthe80s"/> |
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[[John Belton (academic)|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<ref>{{harvp|Belton|1993|pp=292–296}}</ref> 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 (film)|Nashville]]'' and ''Chinatown''.<ref>{{harvp|Schatz|1993|p=20}}</ref> |
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<blockquote>"regular moviegoers were becoming weary of modern American movies. The darkness, the drug use, the embrace of sensation-the violence, the sex, and the sexual violence. But even more than that, they became wear of the anti-everything cynicism... Was everything a bummer? Was everything a drag? Was every movie about some guy with problems?"</blockquote> |
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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<ref>{{harvp|King|2002|p=48}}</ref> while Todd Berliner says that Seventies cinema resists the efficiency and harmony that normally characterize classical Hollywood cinema and tests the limits of Hollywood's classical model.<ref>{{harvp|Berliner|2010}}</ref> |
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In 1980, film historian/scholar [[Robert P. Kolker]] examined New Hollywood film directors in his book ''A Cinema of Loneliness: Penn, Kubrick, Coppola, Scorsese, Altman'', and how their films influenced American society of the 1960s and 1970s.<ref>{{cite journal |last=Aleiss |first=Angela |date=December 1981 |title=Review: ''A Cinema of Loneliness'' by Robert Phillip Kolker |url=https://www.jstor.org/stable/2906265 |journal=Comparative Literature |publisher=[[Johns Hopkins University Press]] |volume=96 |issue=5 |pages=1257–1260 |jstor=2906265 |access-date=May 7, 2022 }}</ref> Kolker observed that "for all the challenge and adventure, their films speak to a continual impotence in the world, an inability to change and to create change."<ref>{{cite book |url=https://www.jstor.org/stable/j.ctt2jcpb1.15 |last=Palmer |first=R. Barton |title=The Philosophy of Stanley Kubrick |chapter=The Shining and Anti-Nostalgia: Postmodern Notions of History |editor-last=Abrams |editor-first=Jerold J. |date=2007 |pages=201–218 |publisher=[[University Press of Kentucky]] |jstor=j.ctt2jcpb1.15 |isbn=9780813124452 |access-date=May 7, 2022 }}</ref> |
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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".<ref name="npr.org">[https://www.npr.org/2017/06/07/530794365/opening-wednesday-dusts-off-some-overlooked-cinematic-treasures Book Review: 'Opening Wednesday At A Theater Or Drive-In Near You,' By Charles Taylor: NPR]</ref> |
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[[John Belton (academic)|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,<ref>{{harvp|Belton|1993|pp=292–296}}</ref> 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 (film)|Nashville]]'' and ''Chinatown''.<ref>{{harvp|Schatz|1993|p=20}}</ref> |
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==Criticism== |
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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".<ref name="LATimes">{{cite news|title=The '70s: Get over it|url=https://articles.latimes.com/2003/aug/17/entertainment/ca-dargis17|last=Dargis|first=Dargis|newspaper=[[Los Angeles Times]]|date=August 17, 2003|access-date=March 12, 2018}}</ref> She also pointed out in her ''[[NY Times]]'' article, its enthusiasts insisting 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)."<ref name="nytimes.com">{{cite web|url=https://www.nytimes.com/2010/11/14/movies/14dargis.html|title='60s Hollywood, the Rebels and the Studios: Power Shifted (or Did It?)|website=The New York Times|access-date=July 19, 2018}}</ref> |
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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,<ref>{{harvp|King|2002|p=48}}</ref> 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.<ref>{{harvp|Berliner|2010}}</ref> |
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This era of American cinema was also criticized for its excessive [[decadence]] and on-set mishaps.<ref>[https://www.independent.co.uk/arts-entertainment/films/features/decade-of-decadence-nicholson-polanski-and-hollywood-in-the-seventies-1796029.html Decade of decadence: Nicholson, Polanski and Hollywood in the Seventies|The Independent]</ref><ref>[https://meaww.com/cursed-films-twilight-zone-the-movie-set-vic-morrow-death-john-landis-steven-spielberg-helicopter Cursed Films' 'Twilight Zone: The Movie' is a devastating account of a tragedy that shook Hollywood to the core|MEAWW]</ref> |
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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".<ref name="npr.org">{{Cite web|url=https://www.npr.org/2017/06/07/530794365/opening-wednesday-dusts-off-some-overlooked-cinematic-treasures|title='Opening Wednesday' Dusts Off Some Overlooked Cinematic Treasures|first=Genevieve|last=Valentine|date=June 7, 2017|website=NPR}}</ref> Author and film critic [[David Thomson (film critic)|David Thomson]] also shared similar sentiment to the point of dubbing the era "the decade when movies mattered".<ref name="whenmoviesmattered"/> |
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Even 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 [[Twilight Zone accident|deadly helicopter accident]] that resulted in the death of [[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!'<ref>[https://gulfnews.com/entertainment/hollywood/deadliest-horror-movies-ever-made-films-surrounded-by-real-life-death-1.74669152 Deadliest horror movies ever made: Films surrounded by real-life death|Hollywood — Gulf News]</ref> |
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Author A.D. Jameson (''I Find Your Lack of Faith Disturbing''), on the other hand, claimed that ''Star Wars'' was New Hollywood's finest achievement that actually embodied the characteristics of the respected "serious, sophisticated adult films".<ref name="starwarskillamericancinema">{{Cite web|url=https://www.salon.com/2018/05/04/star-wars-didnt-kill-american-cinema-is-it-new-hollywoods-greatest-achievement/|title="Star Wars" didn't kill American cinema. Is it New Hollywood's greatest achievement?|first=Erin|last=Keane|date=May 4, 2018|website=Salon}}</ref><ref>{{Cite news|url=https://www.wsj.com/articles/i-find-your-lack-of-faith-disturbing-review-the-geeks-strike-back-1528413103|title='I Find Your Lack of Faith Disturbing' Review: The Geeks Strike Back|first=Brian P.|last=Kelly|newspaper=Wall Street Journal |date=June 7, 2018|via=www.wsj.com}}</ref> |
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==Legacy== |
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The films of [[Steven Spielberg]], [[Brian De Palma]], [[Martin Scorsese]] and [[Francis Ford Coppola]] influenced both the [[Poliziotteschi]] genre films in Italy <ref>[https://birthmoviesdeath.com/2015/09/13/violent-italy-a-poliziotteschi-primer Violent Italy: A Poliziotteschi Primer|Birth.movies.Death.]</ref> and a decade later the [[Cinéma du look]] movement in France.<ref>[http://www.tasteofcinema.com/2014/10-essential-films-for-an-introduction-to-cinema-du-look/ 10 Essential Films For An Introduction To Cinema du Look – Taste of Cinema]</ref> |
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Steven Hyden, writing for ''[[Grantland]]'', called the Movie Brats the "cinematic version" of [[classic rock]] (to the point of roll calling Spielberg as [[the Beatles]], Scorsese as [[the Velvet Underground]], Coppola as [[Bob Dylan]], Lucas as [[Pink Floyd]], [[Robert Altman]] as [[Neil Young]], [[Brian De Palma]] as [[Led Zeppelin]], Bogdanovich as [[the Beach Boys]] and [[Hal Ashby]] as [[the Kinks]]).<ref name="oldnewhollywood"/> |
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[[American Eccentric Cinema]] has been framed as influenced by this era.<ref name=":1" /> Both traditions have similar themes and narratives of existentialism and the need for human interaction.<ref name=":1" /> 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.<ref name=":1" /> 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.<ref name=":1" /> 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.<ref name=":1">{{Cite book|title=American eccentric cinema|last=Wilkins|first= Kim|isbn=978-1-5013-3694-2|oclc=1090782214}}</ref> |
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==Criticism and legacy== |
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The behind-the-scenes of some of the films from this era (''The Exorcist'' and ''The Omen'') were also the subjects for the docuseries ''[[Cursed Films]]''.<ref>[https://screenanarchy.com/2020/08/cursed-films-interviews-director-jay-cheel-and-occult-writer-mitch-horowitz-talk-horror-movies-gallery.html CURSED FILMS Interviews: Director Jay Cheel and Occult Writer Mitch Horowitz Talk Horror Movies]</ref><ref>[https://www.ign.com/articles/shudders-cursed-films-season-1-review Shudder's Cursed Films: Season 1 Review - IGN]</ref> |
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''[[Los Angeles Times]]'' article film critic [[Manohla Dargis]] described New Hollywood as the "halcyon age" of 1970s filmmaking, that "was less revolution than business as usual, with rebel hype".<ref name="LATimes">{{cite news |last=Dargis |first=Dargis |date=August 17, 2003 |title=The '70s: Get over it |url=https://www.latimes.com/archives/la-xpm-2003-aug-17-ca-dargis17-story.html |access-date=March 12, 2018 |newspaper=[[Los Angeles Times]]}}</ref> She also pointed out in her ''[[New York Times]]'' article that the era's 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)."<ref name="nytimes.com">{{cite news |last1=Dargis |first1=Manohla |date=November 12, 2010 |title='60s Hollywood, the Rebels and the Studios: Power Shifted (or Did It?) |url=https://www.nytimes.com/2010/11/14/movies/14dargis.html |access-date=July 19, 2018 |website=The New York Times}}</ref> |
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This era was also infamous for its excessive [[decadence]] and on-set mishaps.<ref>{{Cite web |date=October 1, 2009 |title=Decade of decadence: Nicholson, Polanski and Hollywood in the Seventies |url=https://www.independent.co.uk/arts-entertainment/films/features/decade-of-decadence-nicholson-polanski-and-hollywood-in-the-seventies-1796029.html |website=The Independent}}</ref><ref name="meaww.com">{{Cite web |date=April 17, 2020 |title=Cursed Films' 'Twilight Zone: The Movie' is a devastating account of a tragedy that shook Hollywood to the core | MEAWW |url=https://meaww.com/cursed-films-twilight-zone-the-movie-set-vic-morrow-death-john-landis-steven-spielberg-helicopter |website=meaww.com}}</ref><ref name="cottonclubcollider">[https://collider.com/the-cotton-club-francis-ford-coppola-production/ This Disastrous Francis Ford Coppola Production Is Something Out of The Godfather|Collider]</ref> Incidents plaguing the behind-the-scenes of some of the horror films from this era (such as ''[[Rosemary's Baby (film)|Rosemary's Baby]]'', ''[[The Exorcist]]'', ''[[Twilight Zone: The Movie]]'' and ''[[The Omen]]'') were also the subjects for the docuseries ''[[Cursed Films]]''.<ref>{{Cite web |date=August 19, 2020 |title=CURSED FILMS Interviews: Director Jay Cheel and Occult Writer Mitch Horowitz Talk Horror Movies |url=https://screenanarchy.com/2020/08/cursed-films-interviews-director-jay-cheel-and-occult-writer-mitch-horowitz-talk-horror-movies-gallery.html |website=ScreenAnarchy}}</ref><ref>{{Cite web |last=Fowler |first=Matt |date=April 18, 2020 |title=Shudder's Cursed Films: Season 1 Review |url=https://www.ign.com/articles/shudders-cursed-films-season-1-review |website=IGN}}</ref><ref>{{Cite web |date=April 9, 2020 |title=Cursed Films: The Omen | A Shudder Original Series |url=https://www.youtube.com/watch?v=bc9jyDm7HTw |via=www.youtube.com}}</ref><ref>{{Cite web |last=Romanchick |first=Shane |date=March 25, 2022 |title='Cursed Films' Season 2 Trailer Reveals More Mysteries and Oddities From Famous Films |url=https://collider.com/cursed-films-season-2-trailer-shudder/ |website=Collider}}</ref> Even Spielberg, who co-directed/co-produced ''Twilight Zone'' with [[John Landis]], was so disgusted by the latter's handling of a [[Twilight Zone accident|deadly helicopter accident]] that resulted in the death of three actors, that he ended their friendship and publicly called for the end of New Hollywood. When approached by the press about the accident, he stated:<ref name="gulfnews.com">{{Cite web |date=October 19, 2020 |title=Deadliest horror movies ever made: Films surrounded by real-life death |url=https://gulfnews.com/entertainment/hollywood/deadliest-horror-movies-ever-made-films-surrounded-by-real-life-death-1.74669152 |website=gulfnews.com}}</ref> |
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==List of selected important and notable figures of the movement== |
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<blockquote>"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!'</blockquote> |
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The films of New Hollywood influenced future mainstream and independent filmmakers such as Tarantino, [[Paul Thomas Anderson]] and [[Noah Baumbach]].<ref name="67to80" /><ref name="oldnewhollywood" /> They also influenced both the [[Poliziotteschi]] genre films in Italy<ref>{{Cite web|url=https://birthmoviesdeath.com/2015/09/13/violent-italy-a-poliziotteschi-primer|title=Violent Italy: A Poliziotteschi Primer|first=Phil Jr.|last=Nobile|date=September 13, 2015|website=Birth.Movies.Death.}}</ref> and a decade later the [[Cinéma du look]] movement in France.<ref>{{Cite web|url=http://www.tasteofcinema.com/2014/10-essential-films-for-an-introduction-to-cinema-du-look/|title=10 Essential Films For An Introduction To Cinema du Look|first=Cai|last=Ross|date=December 13, 2014 }}</ref> [[Todd Phillips]]'s 2019 [[DC Comics]] adaptation ''[[Joker (2019 film)|Joker]]'', alongside the film's period setting, was inspired by the Martin Scorsese classics ''[[Taxi Driver]]'' and ''[[The King of Comedy (film)|The King of Comedy]]''<ref>[https://screenrant.com/joker-movie-settting-year-period-piece/ Why The Joker Movie Is A Period Piece Set in Late 1970s and Early 1980s – Screen Rant]</ref> while [[Alexander Payne]]'s 2023 film ''[[The Holdovers]]'' took inspiration from Ashby's works.<ref>[https://collider.com/the-holdovers-new-hollywood-1970s/ 'The Holdovers' Gave Us Everything We Love About 1970s Movies|Collider]</ref> |
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[[American Eccentric Cinema]] has been noted as influenced by this era.<ref name=":1" /> Both traditions have similar themes and narratives of existentialism and the need for human interaction.<ref name=":1" /> 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,<ref name=":1" /> with themes that were reflective of sociocultural issues and were centered around the potential meaninglessness of pursuing the American Dream as generation upon generation was motivated to possess it.<ref name=":1" /> 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.<ref name=":1">{{Cite book|title=American eccentric cinema|last=Wilkins|first= Kim|isbn=978-1-5013-3694-2|oclc=1090782214}}</ref> |
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The New American Cinema has also been ripe for parody as in [[Jim Reardon]]'s cult 1986 animated student film ''[[Bring Me the Head of Charlie Brown]]'' spoofing ''Taxi Driver'', ''The Wild Bunch'' and ''[[Bring Me the Head of Alfredo Garcia]]''.<ref>[https://vimeo.com/947561959 Bring Me the Head of Charlie Brown (audio commentary) (Art & Trash miniature 21) - Art & Trash on Vimeo]</ref> |
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==Notable figures of the movement== |
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<!--Per [[WP:INDISCRIMINATE]], don't make this list too big. Only include people whose output during this time: 1) can be verified with a source, and 2) has a significant impact on their work.--> |
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===Actors=== |
===Actors=== |
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{{div col|colwidth=12em}} |
{{div col|colwidth=12em}} |
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* [[Woody Allen]]<ref name="msn.com">{{cite web|url=https://www.msn.com/en-us/movies/gallery/actors-of-the-70s-then-and-now/ss-AAdp1ho|website=msn.com|title=Actors of the '70s: Then and now |access-date=July 19, 2018}}</ref> |
* [[Woody Allen]]<ref name="msn.com">{{cite web|url=https://www.msn.com/en-us/movies/gallery/actors-of-the-70s-then-and-now/ss-AAdp1ho|website=msn.com|title=Actors of the '70s: Then and now |access-date=July 19, 2018}}</ref> |
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* [[René Auberjonois]]<ref name="flickchart3">{{cite web|url=http://www.flickchart.com/movie/4C738A06D4|title=McCabe & Mrs. Miller (1971)|website=Flickchart|access-date=July 21, 2018}}</ref> |
* [[René Auberjonois]]<ref name="flickchart3">{{cite web|url=http://www.flickchart.com/movie/4C738A06D4|title=McCabe & Mrs. Miller (1971)|website=Flickchart|access-date=July 21, 2018}}</ref><ref name="best new Hollywood movies you probably haven't seen"/> |
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* [[Ned Beatty]]<ref name="flickchart4">{{cite web|url=http://www.flickchart.com/Charts.aspx?actor=Ned+Beatty|title=The Best Movies Starring Ned Beatty|website=Flickchart|access-date=July 21, 2018}}</ref> |
* [[Ned Beatty]]<ref name="flickchart4">{{cite web|url=http://www.flickchart.com/Charts.aspx?actor=Ned+Beatty|title=The Best Movies Starring Ned Beatty|website=Flickchart|access-date=July 21, 2018}}</ref> |
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* [[Warren Beatty]]<ref>[https:// |
* [[Warren Beatty]]<ref>[https://www.bfi.org.uk/lists/warren-beatty-10-essential-films 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'', March 27, 2017. Retrieved February 7, 2021.</ref><ref name="newhollywoodspirit"/> |
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* [[Candice Bergen]]<ref name="msn.com"/> |
* [[Candice Bergen]]<ref name="msn.com"/> |
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* [[Jacqueline Bisset]]<ref name="msn.com"/> |
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* [[Karen Black]]<ref name="flickchart.com">{{cite web|url=http://www.flickchart.com/genre/New+Hollywood|title=New Hollywood|website=Flickchart|access-date=July 19, 2018}}</ref> |
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* [[Karen Black]]<ref name="flickchart.com">{{cite web|url=http://www.flickchart.com/genre/New+Hollywood|title=New Hollywood|website=Flickchart|access-date=July 19, 2018}}</ref><ref name="newhollywoodtreatment">[https://midcenturycinema.org/2021/09/02/news-and-commentary-karen-black-the-new-hollywood-years/ News and Commentary – Karen Black: The New Hollywood Years – MidCenturyCinema]</ref> |
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* [[Timothy Bottoms]]<ref name="msn.com"/> |
* [[Timothy Bottoms]]<ref name="msn.com"/> |
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* [[Peter Boyle]]<ref name="flickchart.com"/> |
* [[Peter Boyle]]<ref name="flickchart.com"/> |
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* [[Marlon Brando]]<ref name="lostmenfoundwomen"/> |
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* [[Beau Bridges]]<ref name="AMERICAN NEW WAVE CINEMA Part Three 1971">{{cite web|url=http://www.newwavefilm.com/international/new-hollywood2.shtml|website=newwavefilm.com|title=A HISTORY OF AMERICAN NEW WAVE CINEMA Part Three: New Hollywood (1970–1971) |access-date=July 21, 2018}}</ref> |
* [[Beau Bridges]]<ref name="AMERICAN NEW WAVE CINEMA Part Three 1971">{{cite web|url=http://www.newwavefilm.com/international/new-hollywood2.shtml|website=newwavefilm.com|title=A HISTORY OF AMERICAN NEW WAVE CINEMA Part Three: New Hollywood (1970–1971) |access-date=July 21, 2018}}</ref> |
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* [[Jeff Bridges]]<ref name="msn.com"/> |
* [[Jeff Bridges]]<ref name="msn.com"/> |
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* [[ |
* [[Albert Brooks]]<ref name="paramountinthe70s"/> |
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* [[Mel Brooks]]<ref>{{Cite web|url=https://www.bestmoviesbyfarr.com/articles/why-1974-was/2014/06|title=Why 1974 Was Mel Brooks's Best Year|website=Best Movies by Farr}}</ref> |
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* [[Geneviève Bujold]]<ref name="msn.com"/> |
* [[Geneviève Bujold]]<ref name="msn.com"/> |
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* [[Ellen Burstyn]]<ref name="msn.com"/> |
* [[Ellen Burstyn]]<ref name="msn.com"/> |
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* [[James Caan]]<ref name="msn.com"/> |
* [[James Caan]]<ref name="msn.com"/><ref name="newhollywoodneonoirs"/> |
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* [[Michael Caine]]<ref name="msn.com"/> |
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* [[Dyan Cannon]]<ref name="msn.com"/> |
* [[Dyan Cannon]]<ref name="msn.com"/> |
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* [[Keith Carradine]]<ref name="flickchart5">{{cite web|url=http://www.flickchart.com/Charts.aspx?actor=Keith+Carradine|title=The Best Movies Starring Keith Carradine|website=Flickchart|access-date=July 21, 2018}}</ref> |
* [[Keith Carradine]]<ref name="flickchart5">{{cite web|url=http://www.flickchart.com/Charts.aspx?actor=Keith+Carradine|title=The Best Movies Starring Keith Carradine|website=Flickchart|access-date=July 21, 2018}}</ref> |
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* [[Diahann Carroll]]<ref name="andtheblacklist"/> |
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* [[John Cassavetes]]<ref name="msn.com"/> |
* [[John Cassavetes]]<ref name="msn.com"/> |
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* [[John Cazale]]<ref> |
* [[John Cazale]]<ref name="E54E4D88 The Conversation 1974">{{Cite web|url=http://www.flickchart.com/movie/48E54E4D88|title=The Conversation|via=www.flickchart.com}}</ref> |
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* [[Julie Christie]]<ref name="AMERICAN NEW WAVE CINEMA Part Three 1971"/> |
* [[Julie Christie]]<ref name="AMERICAN NEW WAVE CINEMA Part Three 1971"/> |
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* [[Jill Clayburgh]]<ref name="broadwayworld.com">{{cite web|url=https://www.broadwayworld.com/bwwtv/article/BAMcinmatek-to-Present-A-Different-Picture-Women-Filmmakers-in-the-New-Hollywood-Era-20180402|author=TV News Desk|website=broadwayworld.com|title=BAMcinématek to Present A Different Picture: Women Filmmakers in the New Hollywood Era|access-date=July 21, 2018}}</ref> |
* [[Jill Clayburgh]]<ref name="broadwayworld.com">{{cite web|url=https://www.broadwayworld.com/bwwtv/article/BAMcinmatek-to-Present-A-Different-Picture-Women-Filmmakers-in-the-New-Hollywood-Era-20180402|author=TV News Desk|website=broadwayworld.com|title=BAMcinématek to Present A Different Picture: Women Filmmakers in the New Hollywood Era|access-date=July 21, 2018}}</ref> |
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* [[Sean Connery]]<ref name="msn.com"/> |
* [[Sean Connery]]<ref name="msn.com"/> |
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* [[Bud Cort]]<ref name="theguardian.com">{{cite web|url=https://www.theguardian.com/film/filmblog/2007/jul/13/the70swasthegoldenageof|title=The 70s was the golden age of Hollywood. But why? |
* [[Bud Cort]]<ref name="theguardian.com">{{cite web|url=https://www.theguardian.com/film/filmblog/2007/jul/13/the70swasthegoldenageof|title=The 70s was the golden age of Hollywood. But why? {{pipe}} Film|website=The Guardian|date=July 13, 2007|access-date=July 19, 2018}}</ref> |
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* [[Jamie Lee Curtis]]<ref name="msn.com"/> |
* [[Jamie Lee Curtis]]<ref name="msn.com"/><ref name="filmsite.org"/> |
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* [[Beverly D'Angelo]]<ref name="msn.com"/> |
* [[Beverly D'Angelo]]<ref name="msn.com"/> |
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* [[Robert De Niro]]<ref name="msn.com"/> |
* [[Robert De Niro]]<ref name="msn.com"/> |
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* [[Bruce Dern]]<ref name="msn.com"/> |
* [[Bruce Dern]]<ref name="msn.com"/><ref name="filmsite.org"/> |
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* [[Danny DeVito]]<ref name="whatculture.com">{{cite web|url=http://whatculture.com/film/20-movies-that-prove-that-the-1970s-was-the-best-decade-for-film?page=14|website=whatculture.com|title=20 Movies That Prove That The 1970s Was The Best Decade For Film-Page 14-8. One Flew Over The Cuckoo's Nest |access-date=July 19, 2018}}</ref> |
* [[Danny DeVito]]<ref name="whatculture.com">{{cite web|url=http://whatculture.com/film/20-movies-that-prove-that-the-1970s-was-the-best-decade-for-film?page=14|website=whatculture.com|title=20 Movies That Prove That The 1970s Was The Best Decade For Film-Page 14-8. One Flew Over The Cuckoo's Nest |date=January 7, 2015|access-date=July 19, 2018}}</ref> |
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* [[Matt Dillon]]<ref name="outsiders"/> |
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* [[Michael Douglas]]<ref name="msn.com"/> |
* [[Michael Douglas]]<ref name="msn.com"/> |
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* [[Brad Dourif]]<ref name="whatculture.com"/> |
* [[Brad Dourif]]<ref name="whatculture.com"/> |
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* [[Richard Dreyfuss]]<ref name="msn.com"/> |
* [[Richard Dreyfuss]]<ref name="msn.com"/><ref name="filmsite.org"/> |
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* [[Faye Dunaway]]<ref name="msn.com"/> |
* [[Faye Dunaway]]<ref name="msn.com"/> |
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* [[Robert Duvall]]<ref name="msn.com"/> |
* [[Robert Duvall]]<ref name="msn.com"/> |
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* [[Shelley Duvall]]<ref name="msn.com"/><ref>[https://www.irishtimes.com/culture/film/2024/07/11/shelley-duvall-a-beloved-avatar-for-creative-individuality-who-defined-1970s-new-hollywood/ Shelley Duvall: A beloved avatar for creative individuality who defined 1970s New Hollywood|The Irish Times]</ref> |
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* [[Shelley Duvall]]<ref name="msn.com"/> |
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* [[Clint Eastwood]]<ref name="msn.com"/> |
* [[Clint Eastwood]]<ref name="msn.com"/><ref name="lostmenfoundwomen"/> |
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* [[Peter Falk]]<ref name="Personal Criticism|The New Yorker"> |
* [[Peter Falk]]<ref name="Personal Criticism|The New Yorker">{{Cite magazine|url=https://www.newyorker.com/culture/richard-brody/personal-criticism|title=Personal Criticism|date=August 3, 2009|magazine=The New Yorker}}</ref> |
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* [[Mia Farrow]]<ref name="msn.com"/> |
* [[Mia Farrow]]<ref name="msn.com"/> |
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* [[Louise Fletcher]]<ref name="msn.com"/> |
* [[Louise Fletcher]]<ref name="msn.com"/> |
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* [[Jane Fonda]]<ref name="msn.com"/> |
* [[Jane Fonda]]<ref name="msn.com"/><ref name="newhollywoodneonoirs"/> |
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* [[Peter Fonda]]<ref name="cinelinx.com">{{cite web|url=https://www.cinelinx.com/movie-stuff/item/8330-trends-in-70-s-cinema-new-hollywood.html|website=cinelinx.com|title=Trends in 70's Cinema: New Hollywood|access-date=July 19, 2018}}</ref> |
* [[Peter Fonda]]<ref name="cinelinx.com">{{cite web|url=https://www.cinelinx.com/movie-stuff/item/8330-trends-in-70-s-cinema-new-hollywood.html|website=cinelinx.com|title=Trends in 70's Cinema: New Hollywood|access-date=July 19, 2018|archive-date=July 17, 2018|archive-url=https://web.archive.org/web/20180717153950/https://www.cinelinx.com/movie-stuff/item/8330-trends-in-70-s-cinema-new-hollywood.html|url-status=dead}}</ref> |
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* [[Harrison Ford]]<ref name="msn.com"/> |
* [[Harrison Ford]]<ref name="msn.com"/> |
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* [[Jodie Foster]]<ref name="msn.com"/> |
* [[Jodie Foster]]<ref name="msn.com"/> |
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* [[Teri Garr]]<ref name="msn.com"/> |
* [[Teri Garr]]<ref name="msn.com"/> |
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* [[Ben Gazzara]]<ref name="Personal Criticism|The New Yorker"/> |
* [[Ben Gazzara]]<ref name="Personal Criticism|The New Yorker"/><ref>[https://www.spectacletheater.com/ben-gazzara-what-a-man/ Ben Gazzara: What a Man – Spectacle Theater]</ref> |
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* [[Richard Gere]]<ref name="flickchart6">{{cite web|url=http://www.flickchart.com/Charts.aspx?actor=Richard+Gere|title=The Best Movies Starring Richard Gere|website=Flickchart|access-date=July 21, 2018}}</ref> |
* [[Richard Gere]]<ref name="flickchart6">{{cite web|url=http://www.flickchart.com/Charts.aspx?actor=Richard+Gere|title=The Best Movies Starring Richard Gere|website=Flickchart|access-date=July 21, 2018}}</ref> |
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* [[Elliott Gould]]<ref name="msn.com"/> |
* [[Elliott Gould]]<ref name="msn.com"/><ref name="nach1968"/><ref name="newhollywoodneonoirs"/> |
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* [[Lee Grant]] |
* [[Lee Grant]]<ref>{{Cite web|url=https://www.latimes.com/entertainment/movies/la-et-tcm-fest-lee-grant-20170405-story.html|title=Oscar-winner Lee Grant talks classic films, the blacklist and being a female director in Hollywood|date=April 5, 2017|website=Los Angeles Times}}</ref><ref name="andtheblacklist"/> |
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* [[Pam Grier]]<ref name="msn.com"/> |
* [[Pam Grier]]<ref name="msn.com"/> |
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* [[Charles Grodin]]<ref name="msn.com"/> |
* [[Charles Grodin]]<ref name="msn.com"/><ref name="lostmenfoundwomen"/> |
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* [[Gene Hackman]]<ref name="msn.com"/> |
* [[Gene Hackman]]<ref name="msn.com"/><ref name="newhollywoodthrillers"/> |
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* [[Mark Hamill]]<ref name="starwarskillamericancinema"/> |
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* [[Goldie Hawn]]<ref name="msn.com"/> |
* [[Goldie Hawn]]<ref name="msn.com"/> |
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* [[Dustin Hoffman]]<ref name="pastemagazine.com">{{cite web|url=https://www.pastemagazine.com/articles/2011/11/the-greatest-era-in-film-history-10-movies-from-70.html|website=Paste Magazine|title=The Greatest Era in Film History: 10 Movies From '70s America |access-date=July 19, 2018}}</ref> |
* [[Dustin Hoffman]]<ref name="pastemagazine.com">{{cite web|url=https://www.pastemagazine.com/articles/2011/11/the-greatest-era-in-film-history-10-movies-from-70.html|website=Paste Magazine|title=The Greatest Era in Film History: 10 Movies From '70s America |date=October 27, 2011|access-date=July 19, 2018}}</ref><ref name="newhollywoodspirit"/><ref name="67to80"/> |
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* [[Anthony Hopkins]]<ref name="msn.com"/> |
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* [[Dennis Hopper]]<ref>[https://www.slantmagazine.com/books/road-trip-to-nowhere-hollywood-encounters-the-counterculture-review-jon-lewis/ 'Road Trip to Nowhere: Hollywood Encounters the Counterculture' Review – Slant Magazine]</ref> |
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* [[Ron Howard]]<ref name="filmsite.org"/> |
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* [[Glenda Jackson]]<ref name="msn.com"/> |
* [[Glenda Jackson]]<ref name="msn.com"/> |
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* [[James Earl Jones]]<ref name="andtheblacklist"/> |
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* [[Madeline Kahn]]<ref name="hcl.harvard.edu">{{cite web|url=http://hcl.harvard.edu/hfa/films/2010janmar/bogdanovich.html|title=Peter Bogdanovich, Between Old and New Hollywood - Harvard Film Archive|website=hcl.harvard.edu|access-date=July 21, 2018|archive-url=https://web.archive.org/web/20130621172033/http://hcl.harvard.edu/hfa/films/2010janmar/bogdanovich.html#|archive-date=2013-06-21|url-status=dead}}</ref> |
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* [[Madeline Kahn]]<ref name="hcl.harvard.edu">{{cite web|url=http://hcl.harvard.edu/hfa/films/2010janmar/bogdanovich.html|title=Peter Bogdanovich, Between Old and New Hollywood – Harvard Film Archive|website=hcl.harvard.edu|access-date=July 21, 2018|archive-url=https://web.archive.org/web/20130621172033/http://hcl.harvard.edu/hfa/films/2010janmar/bogdanovich.html|archive-date=2013-06-21|url-status=dead}}</ref><ref name="lostmenfoundwomen"/> |
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* [[Carol Kane]]<ref name="msn.com"/> |
* [[Carol Kane]]<ref name="msn.com"/> |
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* [[Diane Keaton]]<ref name="msn.com"/> |
* [[Diane Keaton]]<ref name="msn.com"/> |
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* [[Harvey Keitel]]<ref name="msn.com"/> |
* [[Harvey Keitel]]<ref name="msn.com"/> |
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* [[Sally Kellerman]]<ref name="msn.com"/> |
* [[Sally Kellerman]]<ref name="msn.com"/> |
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* [[Margot Kidder]]<ref name="jahsonic.com">{{cite web|url=https://www.jahsonic.com/NewHollywood.html|title=New Hollywood (1967–1977)|website=jahsonic.com|access-date=July 19, 2018}}</ref> |
* [[Margot Kidder]]<ref name="jahsonic.com">{{cite web|url=https://www.jahsonic.com/NewHollywood.html|title=New Hollywood (1967–1977)|website=jahsonic.com|access-date=July 19, 2018|archive-date=November 18, 2018|archive-url=https://web.archive.org/web/20181118162512/https://www.jahsonic.com/NewHollywood.html|url-status=dead}}</ref> |
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* [[Kris Kristofferson]]<ref name="AMERICAN NEW WAVE CINEMA Part Three 1971"/> |
* [[Kris Kristofferson]]<ref name="AMERICAN NEW WAVE CINEMA Part Three 1971"/> |
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* [[Diane Ladd]]<ref name="thenation.com">{{cite |
* [[Diane Ladd]]<ref name="thenation.com">{{cite magazine|url=https://www.thenation.com/article/losers-take-all-new-american-cinema/|title=Losers Take All: On the New American Cinema|website=The Nation|date=May 11, 2011|access-date=July 21, 2018|last1=Hendershot|first1=Heather|archive-date=July 20, 2018|archive-url=https://web.archive.org/web/20180720200259/https://www.thenation.com/article/losers-take-all-new-american-cinema/|url-status=dead}}</ref> |
||
* [[Jessica Lange]]<ref name="flickchart7">{{cite web|url=http://www.flickchart.com/movie/0ABD1A54AE|title=All That Jazz (1979)|website=Flickchart|access-date=July 21, 2018}}</ref> |
* [[Jessica Lange]]<ref name="flickchart7">{{cite web|url=http://www.flickchart.com/movie/0ABD1A54AE|title=All That Jazz (1979)|website=Flickchart|access-date=July 21, 2018}}</ref><ref name="filmsite.org"/> |
||
* [[Cloris Leachman]]<ref name="AMERICAN NEW WAVE CINEMA Part Three 1971"/> |
* [[Cloris Leachman]]<ref name="AMERICAN NEW WAVE CINEMA Part Three 1971"/> |
||
* [[Paul |
* [[Paul Le Mat]]<ref name="filmsite.org"/> |
||
* [[ |
* [[Walter Matthau]]<ref name="lostmenfoundwomen"/> |
||
* [[Malcolm McDowell]]<ref name="msn.com"/> |
|||
* [[Liza Minnelli]]<ref name="lostmenfoundwomen"/><ref name="filmsite.org"/> |
|||
* [[Paul Newman]]<ref name="flickchart.com"/><ref name="67to80"/> |
|||
* [[Olivia Newton-John]]<ref name="msn.com"/> |
|||
* [[Jack Nicholson]]<ref name="cinelinx.com"/><ref name="newhollywoodspirit"/><ref name="rafelsonap"/> |
|||
* [[Warren Oates]]<ref name="flickchart.com"/> |
* [[Warren Oates]]<ref name="flickchart.com"/> |
||
* [[Ryan O'Neal]]<ref name="msn.com"/> |
* [[Ryan O'Neal]]<ref name="msn.com"/><ref name="lostmenfoundwomen"/> |
||
* [[Tatum O'Neal]]<ref name="hcl.harvard.edu"/> |
* [[Tatum O'Neal]]<ref name="hcl.harvard.edu"/> |
||
* [[Peter O'Toole]]<ref name="msn.com"/> |
* [[Peter O'Toole]]<ref name="msn.com"/> |
||
* [[Al Pacino]]<ref name="pastemagazine.com"/> |
* [[Al Pacino]]<ref name="pastemagazine.com"/> |
||
* [[Mackenzie Phillips]]<ref name="filmsite.org"/> |
|||
* [[Sidney Poitier]]<ref name="flickchart8">{{cite web|url=http://www.flickchart.com/movie/62F6BB2658|title=Guess Who's Coming to Dinner (1967)|website=Flickchart|access-date=July 21, 2018}}</ref> |
* [[Sidney Poitier]]<ref name="flickchart8">{{cite web|url=http://www.flickchart.com/movie/62F6BB2658|title=Guess Who's Coming to Dinner (1967)|website=Flickchart|access-date=July 21, 2018}}</ref> |
||
* [[ |
* [[Richard Pryor]]<ref name="lostmenfoundwomen"/><ref name="celebratedera"/> |
||
* [[Robert Redford]]<ref name="msn.com"/><ref name="67to80"/> |
|||
* [[Vanessa Redgrave]]<ref name="flickchart9">{{cite web|url=http://www.flickchart.com/movie/A57D895D77|title=Julia (1977)|website=Flickchart|access-date=July 21, 2018}}</ref> |
* [[Vanessa Redgrave]]<ref name="flickchart9">{{cite web|url=http://www.flickchart.com/movie/A57D895D77|title=Julia (1977)|website=Flickchart|access-date=July 21, 2018}}</ref> |
||
* [[Burt Reynolds]]<ref name="msn.com"/> |
* [[Burt Reynolds]]<ref name="msn.com"/> |
||
* [[Jason Robards]]<ref name="flickchart10">{{cite web|url=http://www.flickchart.com/Charts.aspx?actor=Jason+Robards|title=The Best Movies Starring Jason Robards|website=Flickchart|access-date=July 21, 2018}}</ref> |
* [[Jason Robards]]<ref name="flickchart10">{{cite web|url=http://www.flickchart.com/Charts.aspx?actor=Jason+Robards|title=The Best Movies Starring Jason Robards|website=Flickchart|access-date=July 21, 2018}}</ref> |
||
* [[ |
* [[Diana Ross]]<ref name="lostmenfoundwomen"/><ref name="celebratedera"/> |
||
* [[ |
* [[Gena Rowlands]]<ref name="msn.com"/><ref name="nach1968"/> |
||
* [[ |
* [[Roy Scheider]]<ref name="flickchart.com"/><ref name="best new Hollywood movies you probably haven't seen"/> |
||
* [[George Segal]]<ref name="msn.com"/><ref name="segalnewhollywodyears"/> |
|||
* [[Martin Sheen]]<ref name="msn.com"/> |
* [[Martin Sheen]]<ref name="msn.com"/> |
||
* [[Sam Shepard]]<ref name="flickchart11">{{cite web|url=http://www.flickchart.com/movie/1B3256EDE4|title=Days of Heaven (1978)|website=Flickchart|access-date=July 21, 2018}}</ref> |
* [[Sam Shepard]]<ref name="flickchart11">{{cite web|url=http://www.flickchart.com/movie/1B3256EDE4|title=Days of Heaven (1978)|website=Flickchart|access-date=July 21, 2018}}</ref> |
||
* [[Cybill Shepherd]]<ref name="msn.com"/> |
* [[Cybill Shepherd]]<ref name="msn.com"/><ref name="lostmenfoundwomen"/> |
||
* [[Talia Shire]]<ref name="lostmenfoundwomen"/> |
|||
* [[Tom Skerritt]]<ref name="flickchart12">{{cite web|url=http://www.flickchart.com/Charts.aspx?actor=Tom+Skerritt|title=The Best Movies Starring Tom Skerritt|website=Flickchart|access-date=July 21, 2018}}</ref> |
* [[Tom Skerritt]]<ref name="flickchart12">{{cite web|url=http://www.flickchart.com/Charts.aspx?actor=Tom+Skerritt|title=The Best Movies Starring Tom Skerritt|website=Flickchart|access-date=July 21, 2018}}</ref> |
||
* [[Charles Martin Smith]]<ref name="filmsite.org"/> |
|||
* [[Sissy Spacek]]<ref name="msn.com"/> |
* [[Sissy Spacek]]<ref name="msn.com"/> |
||
* [[Sylvester Stallone]]<ref name="msn.com"/> |
* [[Sylvester Stallone]]<ref name="msn.com"/> |
||
* [[Harry Dean Stanton]]<ref name="outsiders"/> |
|||
* [[Mary Steenburgen]]<ref name="flickchart13">{{cite web|url=http://www.flickchart.com/movie/37DA27FEA4|title=Melvin and Howard (1980)|website=Flickchart|access-date=July 21, 2018}}</ref> |
* [[Mary Steenburgen]]<ref name="flickchart13">{{cite web|url=http://www.flickchart.com/movie/37DA27FEA4|title=Melvin and Howard (1980)|website=Flickchart|access-date=July 21, 2018}}</ref> |
||
* [[Meryl Streep]]<ref name="msn.com"/> |
* [[Meryl Streep]]<ref name="msn.com"/> |
||
* [[Barbra Streisand]]<ref name="msn.com"/> |
* [[Barbra Streisand]]<ref name="msn.com"/><ref name="lostmenfoundwomen"/><ref name="celebratedera"/> |
||
* [[Donald Sutherland]]<ref name="msn.com"/> |
* [[Donald Sutherland]]<ref name="msn.com"/><ref name="newhollywoodneonoirs"/> |
||
* [[Lily Tomlin]]<ref name="flickchart14">{{cite web|url=http://www.flickchart.com/movie/7DC58356E8|title=The Late Show (1977)|website=Flickchart|access-date=July 21, 2018}}</ref> |
* [[Lily Tomlin]]<ref name="flickchart14">{{cite web|url=http://www.flickchart.com/movie/7DC58356E8|title=The Late Show (1977)|website=Flickchart|access-date=July 21, 2018}}</ref> |
||
* [[Rip Torn]]<ref name="You're A Big Boy Now 1966">{{cite web|url=http://www.flickchart.com/movie/922AB8E17E|title=You're a Big Boy Now (1966)|website=Flickchart|access-date=July 21, 2018}}</ref> |
* [[Rip Torn]]<ref name="You're A Big Boy Now 1966">{{cite web|url=http://www.flickchart.com/movie/922AB8E17E|title=You're a Big Boy Now (1966)|website=Flickchart|access-date=July 21, 2018}}</ref><ref name="outsiders"/> |
||
* [[John Travolta]]<ref name="msn.com"/> |
* [[John Travolta]]<ref name="msn.com"/><ref name="newhollywoodthrillers"/> |
||
* [[Cicely Tyson]]<ref name="historicalfilm"/> |
|||
* [[Jon Voight]]<ref name="pastemagazine.com"/> |
* [[Jon Voight]]<ref name="pastemagazine.com"/> |
||
* [[Sigourney Weaver]]<ref name="whatculture">{{cite web|url=http://whatculture.com/film/20-movies-that-prove-that-the-1970s-was-the-best-decade-for-film?page=2|website=whatculture.com|title= 20 Movies That Prove That The 1970s Was The Best Decade For Film-Page 2-20.Alien |access-date=July 19, 2018}}</ref> |
* [[Sigourney Weaver]]<ref name="whatculture">{{cite web|url=http://whatculture.com/film/20-movies-that-prove-that-the-1970s-was-the-best-decade-for-film?page=2|website=whatculture.com|title= 20 Movies That Prove That The 1970s Was The Best Decade For Film-Page 2-20.Alien |date=January 7, 2015|access-date=July 19, 2018}}</ref> |
||
* [[Gene Wilder]]<ref name="msn.com"/> |
* [[Gene Wilder]]<ref name="msn.com"/> |
||
* [[Billy Dee Williams]]<ref name="lostmenfoundwomen"/><ref name="celebratedera"/> |
|||
* [[Cindy Williams]]<ref name="filmsite.org"/> |
|||
* [[Paul Williams (composer)|Paul Williams]]<ref name="70sromcomsranked"/> |
|||
* [[Joanne Woodward]]<ref name="msn.com"/> |
|||
{{div col end}} |
{{div col end}} |
||
=== Directors === |
=== Directors === |
||
<!--Per [[WP:INDISCRIMINATE]], don't make this list too big. Only include people whose output during this time: 1) can be verified with a source, and 2) has a significant impact on their work.--> |
|||
{{div col|colwidth=12em}} |
{{div col|colwidth=12em}} |
||
* [[Robert Aldrich]]<ref name="70splay30s"/><ref name="sept2022"/> |
|||
* [[Woody Allen]]<ref name="tasteofcinema.com1">{{cite web|url=http://www.tasteofcinema.com/2015/the-10-greatest-directors-of-the-new-hollywood-era/|title=The 10 Greatest Directors of The New Hollywood Era « Taste of Cinema - Movie Reviews and Classic Movie Lists|website=www.tasteofcinema.com}}</ref> |
|||
* [[ |
* [[Woody Allen]]<ref name="tasteofcinema.com1">{{cite web|url=http://www.tasteofcinema.com/2015/the-10-greatest-directors-of-the-new-hollywood-era/|title=The 10 Greatest Directors of The New Hollywood Era « Taste of Cinema – Movie Reviews and Classic Movie Lists|website=www.tasteofcinema.com|date=December 26, 2015 }}</ref><ref name="Bernardoni">[https://networks.h-net.org/node/21708/reviews/21838/davies-bernardoni-new-hollywood-what-movies-did-new-freedoms-seventies Davies on Bernardoni, 'The New Hollywood: What the Movies Did with the New Freedoms of the Seventies'|H-Net]</ref> |
||
* [[ |
* [[Robert Altman]]{{refn|<ref name="pastemagazine.com"/><ref name="tasteofcinema.com2">{{cite web|url=http://www.tasteofcinema.com/2015/the-10-greatest-directors-of-the-new-hollywood-era/2/|title=The 10 Greatest Directors of The New Hollywood Era « Taste of Cinema – Movie Reviews and Classic Movie Lists|website=www.tasteofcinema.com|date=December 26, 2015 }}</ref>}} |
||
<ref>[https://hollywoodsuite.ca/popeye-altman-robin-williams/ Popeye: The WTF Masterstroke in Robert Altman's Filmography – Hollywood Suite]</ref><ref name="newhollywoodspirit"/><ref name="70splay30s"/><ref name="sept2022"/> |
|||
* [[Hal Ashby]]<ref>[https://film.avclub.com/the-shallow-hal-skims-the-career-of-the-director-behind-1828730787 The shallow Hal skims the career of the director behind Harold And Maude and Being There-AV Club]</ref> |
|||
* [[Hal Ashby]]{{refn|<ref>{{Cite web|url=https://www.avclub.com/the-shallow-hal-skims-the-career-of-the-director-behind-1828730787|title=The shallow Hal skims the career of the director behind Harold And Maude and Being There|date=September 4, 2018|website=The A.V. Club}}</ref><ref>[https://www.splicetoday.com/moving-pictures/cocaine-parlays-with-hal-ashby Cocaine Parlays with Hal Ashby – Splice Today]</ref>}} |
|||
* [[John G. Avildsen]]<ref name="flickchart">{{cite web|url=http://www.flickchart.com/Charts.aspx?director=John+G.+Avildsen|title=The Best Movies Directed by John G. Avildsen|website=Flickchart|access-date=July 19, 2018}}</ref> |
|||
<ref name="newhollywoodspirit"/><ref name="newhollywoodcriterion"/><ref name="outsiders"/> |
|||
* [[John Badham]]<ref name="lwlies.com">{{cite web|url=http://lwlies.com/articles/10-essential-new-hollywood-directors-you-should-know/|website=Little White Lies|title=10 essential New Hollywood directors you should know |access-date=July 19, 2018}}</ref> |
|||
* [[ |
* [[John G. Avildsen]]<ref name="flickchart">{{cite web|url=http://www.flickchart.com/Charts.aspx?director=John+G.+Avildsen|title=The Best Movies Directed by John G. Avildsen|website=Flickchart|access-date=July 19, 2018}}</ref><ref name="67to80"/><ref name="otherhollywoodrenaissance"/><ref name="filmsite.org"/> |
||
* [[John Badham]]<ref name="lwlies.com">{{cite web|url=http://lwlies.com/articles/10-essential-new-hollywood-directors-you-should-know/|website=Little White Lies|title=10 essential New Hollywood directors you should know |access-date=July 19, 2018}}</ref><ref name="paramountinthe70s"/> |
|||
* [[Peter Bogdanovich]]<ref name="pastemagazine.com"/> |
|||
* [[Ralph Bakshi]]<ref name="keepingitreal"/> |
|||
* [[James Bridges]]<ref name="flickchart15">{{cite web|url=http://www.flickchart.com/movie/2C3A916669|title=The China Syndrome (1979)|website=Flickchart|access-date=July 21, 2018}}</ref> |
|||
* [[Paul Bartel]]<ref name="filmsite.org"/><ref name="outsiders"/> |
|||
* [[Mel Brooks]]{{sfn|Thompson|Bordwell|2003|p=528}} |
|||
* [[ |
* [[Robert Benton]]<ref name="67to80"/><ref name="nach1968"/><ref name="paramountinthe70s"/> |
||
* [[John Berry (film director)|John Berry]]<ref name="andtheblacklist"/> |
|||
* [[James Cameron]]<ref name="enl.auth.gr">{{cite web|url=http://www.enl.auth.gr/gramma/gramma08/kokonis.pdf|date=February 4, 2009|title=Hollywood's Major Crisis and the American Film "Renaissance"|author=Michalis Kokonis|access-date=July 21, 2018}}</ref> |
|||
* [[Peter Bogdanovich]]{{refn|<ref name="pastemagazine.com"/><ref name="rafelsonap"/><ref name="70splay30s"/><ref name="sept2022"/>}} |
|||
* [[John Carpenter]]<ref name="filmschoolwtf.com">{{cite web|url=http://filmschoolwtf.com/best-70s-movies/|website=filmschoolwtf.com|title=Top 100 Best 70s Movies|access-date=July 19, 2018}}</ref> |
|||
* [[James Bridges]]<ref name="flickchart15">{{cite web|url=http://www.flickchart.com/movie/2C3A916669|title=The China Syndrome (1979)|website=Flickchart|access-date=July 21, 2018}}</ref><ref name="nach1968"/> |
|||
* [[John Cassavetes]]<ref name="nytimes.com"/> |
|||
* [[Albert Brooks]]<ref name="paramountinthe70s"/> |
|||
* [[Francis Ford Coppola]]<ref name="tasteofcinema.com2"/><ref>[https://meaww.com/cursed-films-twilight-zone-the-movie-set-vic-morrow-death-john-landis-steven-spielberg-helicopter Cursed Films' 'Twilight Zone: The Movie' is a devastating account of a tragedy that shook Hollywood to the core|MEAWW]</ref> |
|||
* [[ |
* [[Mel Brooks]]{{sfn|Thompson|Bordwell|2003|p=528}}<ref name="67to80"/> |
||
* [[ |
* [[John Boorman]]<ref name="newwavefilm.com"/><ref name="67to80"/><ref name="otherhollywoodrenaissance"/> |
||
* [[John Carpenter]]{{refn|<ref name="filmschoolwtf.com">{{cite web|url=http://filmschoolwtf.com/best-70s-movies/|website=filmschoolwtf.com|title=Top 100 Best 70s Movies|access-date=July 19, 2018}}</ref><ref name="howjohncarpenterrevolutionizedscifiandhorror">[https://www.fathomevents.com/blog/john-carpenter/ How John Carpenter Revolutionized Horror & Sci-Fi|Fathom Events]</ref><ref name="newhollywoodbackstage"/><ref name="newfreedoms"/><ref name="filmsite.org"/>}} |
|||
* [[Brian De Palma]]<ref name="newwavefilm.com"/><ref name="tasteofcinema.com1"/> |
|||
* [[John Cassavetes]]{{refn|<ref name="nytimes.com"/><ref name="auto1">{{Cite web|url=https://www.popmatters.com/haile-gerima-bush-mama-2641374183.html|title=Critical Discussion Transforms Art: Haile Gerima, the L.A. Rebellion, and Cinema as Life, PopMatters|date=November 18, 2019}}</ref><ref name="otherhollywoodrenaissance"/><ref name="filmsite.org"/>}} |
|||
* [[Miloš Forman]]<ref name="filmschoolwtf.com"/> |
|||
* [[Michael Cimino]]{{refn|<ref>{{cite web|title=Heaven's Gate (1980)|url=https://www.indiewire.com/gallery/new-hollywood-50-movies/heavens-gate-1981/|last=Nordine|first=Michael|work=[[IndieWire]]|date=April 11, 2017|access-date=March 12, 2018}}</ref><ref name="therise"/><ref name="thefall"/><ref name="onemoviekilledthe80s"/>}} |
|||
* [[Bob Fosse]]<ref name="books.google.com">{{cite book|title=The New Hollywood: What the Movies Did with the New Freedoms of the Seventies|author=Bernardoni, J.|date=2001|publisher=McFarland, Incorporated, Publishers|isbn=9780786483075|url=https://books.google.com/books?id=pUPM9LFmetoC&pg=PA14|page=14|access-date=July 19, 2018}}</ref> |
|||
* [[ |
* [[Shirley Clarke]]<ref name="hollywood.com"/> |
||
* [[ |
* [[Larry Cohen]]<ref name="outsiders"/><ref name="filmmuseum.at"/> |
||
* [[Francis Ford Coppola]]{{refn|<ref name="tasteofcinema.com2"/><ref name="meaww.com"/><ref name="therise"/><ref name="thefall"/> |
|||
<ref name="newhollywoodspirit"/><ref name="rafelsonap"/><ref name="howjohncarpenterrevolutionizedscifiandhorror"/><ref name="paramountinthe70s"/>}} |
|||
* [[Roger Corman]]<ref name="enl.auth.gr">{{cite web|url=http://www.enl.auth.gr/gramma/gramma08/kokonis.pdf|date=February 4, 2009|title=Hollywood's Major Crisis and the American Film "Renaissance"|author=Michalis Kokonis|access-date=July 21, 2018}}</ref><ref name="newwavefilm.com">{{cite web|url=http://www.newwavefilm.com/international/new-hollywood.shtml|website=newwavefilm.com|title=A HISTORY OF AMERICAN NEW WAVE CINEMA Part Three: New Hollywood (1967–1969) |access-date=July 19, 2018}}</ref> |
|||
* [[Wes Craven]]<ref name="filmsite.org"/> |
|||
* [[Michael Crichton]]<ref name="academia"/> |
|||
* [[Joe Dante]]<ref name="enl.auth.gr"/><ref name="filmsite.org"/> |
|||
* [[Jonathan Demme]]<ref name="paramountinthe70s"/><ref name="auto5"/><ref name="filmsite.org"/> |
|||
* [[Brian De Palma]]{{refn|<ref name="newwavefilm.com"/><ref name="tasteofcinema.com1"/><ref name="rafelsonap"/><ref name="howjohncarpenterrevolutionizedscifiandhorror"/><ref name="70sromcomsranked"/>}} |
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* [[Richard Donner]]<ref name="oldschoolhitmaker">{{Cite web|url=https://www.thewrap.com/richard-donner-appreciation-obituary-superman-lethal-weapon-goonies/|title=Richard Donner Appreciation: An Old-School Hit-Maker Who Emerged From New Hollywood|first=Alonso|last=Duralde|date=July 5, 2021}}</ref> |
|||
* [[Robert Downey Sr.]]<ref name="filmsite.org"/> |
|||
* [[Richard Fleischer]]<ref name="paramountinthe70s"/><ref name="otherhollywoodrenaissance"/> |
|||
* [[Miloš Forman]]<ref name="filmschoolwtf.com"/><ref name="newhollywoodspirit"/><ref name="best new Hollywood movies you probably haven't seen"/> |
|||
* [[Bob Fosse]]<ref name="books.google.com">{{cite book|title=The New Hollywood: What the Movies Did with the New Freedoms of the Seventies|author=Bernardoni, J.|date=2001|publisher=McFarland, Incorporated, Publishers|isbn=9780786483075|url=https://books.google.com/books?id=pUPM9LFmetoC&pg=PA14|page=14|access-date=July 19, 2018}}</ref><ref name="otherhollywoodrenaissance"/><ref name="ReferenceB"/> |
|||
* [[John Frankenheimer]]<ref name="otherhollywoodrenaissance"/><ref name="sixtiescrackup">[https://www.criterion.com/current/posts/8482-american-cinema-s-sixties-crack-up American Cinema's Sixties Crack-Up|Current|The Criterion Collection]</ref> |
|||
* [[William Friedkin]]<ref name="newwavefilm.com"/><ref name="tasteofcinema.com1"/><ref name="ReferenceB"/> |
|||
* [[Sidney J. Furie]]<ref name="celebratedera">[https://www.google.com/books/edition/The_Hollywood_Renaissance/vCFZDwAAQBAJ?hl=en&gbpv=0 The Hollywood Renaissance: Revisiting American Cinema's Most Celebrated Era – Google Books]</ref><ref name="limitsofauteurism"/> |
|||
* [[Ulu Grosbard]]<ref name="67to80"/> |
|||
* [[Monte Hellman]]<ref name="theguardian.com"/><ref name="enl.auth.gr"/> |
|||
* [[Buck Henry]]<ref name="paramountinthe70s"/> |
|||
* [[George Roy Hill]]<ref name="lwlies.com"/> |
* [[George Roy Hill]]<ref name="lwlies.com"/> |
||
* [[Walter Hill (director)|Walter Hill]]<ref name="flickchart16">{{cite web|url=http://www.flickchart.com/Charts.aspx?director=Walter+Hill&perpage=10|title=The Top 10 Movies Directed by Walter Hill|website=Flickchart|access-date=July 21, 2018}}</ref> |
* [[Walter Hill (director)|Walter Hill]]<ref name="flickchart16">{{cite web|url=http://www.flickchart.com/Charts.aspx?director=Walter+Hill&perpage=10|title=The Top 10 Movies Directed by Walter Hill|website=Flickchart|access-date=July 21, 2018}}</ref><ref name="70splay30s"/><ref name="sept2022"/> |
||
* [[Arthur Hiller]]<ref name="auto3">{{cite web|url=https://www.buzzfeed.com/kateaurthur/hollywoods-forgotten-gay-romance|title=Hollywood's Forgotten Gay Romance|first=Kate|last=Aurthur|website=BuzzFeed}}</ref><ref>{{cite web|url=https://www.kino-zeit.de/news-features/kolumnen/a-never-ending-love-story?desktop|title=News |
* [[Arthur Hiller]]<ref name="auto3">{{cite web|url=https://www.buzzfeed.com/kateaurthur/hollywoods-forgotten-gay-romance|title=Hollywood's Forgotten Gay Romance|first=Kate|last=Aurthur|website=BuzzFeed|date=February 17, 2017 }}</ref><ref>{{cite web|url=https://www.kino-zeit.de/news-features/kolumnen/a-never-ending-love-story?desktop|title=News – A Never Ending (Love) Story?|website=www.kino-zeit.de}}</ref><ref name="auto2">{{cite web|url=https://www.indiewire.com/2014/04/10-great-overlooked-films-from-the-1970s-86740/|title=10 Great Overlooked Films From The 1970s|first1=The Playlist|last1=Staff|date=April 24, 2014|access-date=January 10, 2019|archive-date=January 10, 2019|archive-url=https://web.archive.org/web/20190110133730/https://www.indiewire.com/2014/04/10-great-overlooked-films-from-the-1970s-86740/|url-status=dead}}</ref><ref name="67to80"/> |
||
* [[Tobe Hooper]]<ref name="filmschoolwtf.com"/> |
* [[Tobe Hooper]]<ref name="filmschoolwtf.com"/><ref name="ReferenceB"/> |
||
* [[ |
* [[Dennis Hopper]]<ref name="newwavefilm.com"/><ref name="rafelsonap"/> |
||
* [[John Huston]]<ref name="67to80"/><ref name="best new Hollywood movies you probably haven't seen"/> |
|||
* [[Norman Jewison]]<ref name="telegraph">{{cite web|url=https://www.telegraph.co.uk/culture/film/10076153/Hollywood-has-never-matched-the-gritty-masterpieces-of-the-1970s.html|title=Hollywood has never matched the gritty masterpieces of the 1970s|website=Telegraph|access-date=July 21, 2018}}</ref> |
|||
* [[ |
* [[Henry Jaglom]]<ref name="thenation.com"/><ref name="otherhollywoodrenaissance"/> |
||
* [[Norman Jewison]]<ref name="telegraph">{{cite web|url=https://www.telegraph.co.uk/culture/film/10076153/Hollywood-has-never-matched-the-gritty-masterpieces-of-the-1970s.html |archive-url=https://ghostarchive.org/archive/20220112/https://www.telegraph.co.uk/culture/film/10076153/Hollywood-has-never-matched-the-gritty-masterpieces-of-the-1970s.html |archive-date=2022-01-12 |url-access=subscription |url-status=live|title=Hollywood has never matched the gritty masterpieces of the 1970s|website=Telegraph|date=May 23, 2013 |access-date=July 21, 2018}}{{cbignore}}</ref> |
|||
*[[George Lucas]]<ref name="newwavefilm.com"/> |
|||
* [[ |
* [[Irvin Kershner]]<ref name="otherhollywoodrenaissance"/> |
||
* [[ |
* [[Stanley Kubrick]]<ref name="newwavefilm.com"/><ref name="newhollywoodspirit"/> |
||
* [[John Landis]]<ref>{{Cite web|url=https://bombmagazine.org/articles/damaged-goods-john-landis/|title=BOMB Magazine | Damaged Goods: John Landis|website=BOMB Magazine|date=November 22, 2011 }}</ref><ref name="nach1968"/> |
|||
* [[Terrence Malick]]<ref name="pastemagazine.com"/><ref name="tasteofcinema.com2"/> |
|||
* [[ |
* [[Tom Laughlin]]<ref name="enl.auth.gr"/> |
||
* [[Richard Lester]]<ref name="filmsite.org"/> |
|||
* [[Paul Mazursky]]<ref>[https://www.filmcomment.com/article/paul-mazursky/ Film Comment]</ref><ref>[https://variety.com/2014/film/columns/varietys-scott-foundas-remembers-paul-mazursky-a-poetic-farceur-of-american-lives-1201256744/ Paul Mazursky Dead: A Poetic Farceur of American Lives – Variety]</ref> |
|||
* [[George Lucas]]<ref name="newwavefilm.com"/><ref name="thefall"/><ref name="howjohncarpenterrevolutionizedscifiandhorror"/><ref name="filmsite.org"/> |
|||
* [[John Milius]]<ref name="books.google.com"/> |
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* [[Sidney Lumet]]<ref name="flickchart.com"/><ref name="therise"/><ref name="newhollywoodbackstage"/><ref name="sixtiescrackup"/> |
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* [[David Lynch]]<ref name="books.google.com"/><ref name="newfreedoms"/><ref name="filmsite.org"/> |
|||
* [[Terrence Malick]]<ref name="pastemagazine.com"/><ref name="tasteofcinema.com2"/><ref name="enl.auth.gr"/><ref name="newhollywoodcriterion"/> |
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* [[Michael Mann]]<ref name="newhollywoodneonoirs"/> |
|||
* [[Elaine May]]<ref name="broadwayworld.com"/><ref name="newhollywoodbackstage"/><ref name="newhollywoodwomen"/><ref name="outsiders"/> |
|||
* [[Paul Mazursky]]<ref>{{Cite web|url=https://www.filmcomment.com/article/paul-mazursky/|title=New Hollywood: Paul Mazursky|website=Film Comment}}</ref><ref>{{Cite web|url=https://variety.com/2014/film/columns/varietys-scott-foundas-remembers-paul-mazursky-a-poetic-farceur-of-american-lives-1201256744/|title=Variety's Scott Foundas Remembers Paul Mazursky: A Poetic Farceur of American Lives|first1=Scott|last1=Foundas|date=July 2, 2014}}</ref><ref>[https://www.nathanrabin.com/happy-place/2022/11/23/the-fractured-mirror-20-40-the-pickle-1993 The Pickle Exemplifies Everything That Made Paul Mazursky's Exhausting — Nathan Rabin's Happy Place]</ref> |
|||
* [[John Milius]]<ref name="books.google.com"/><ref name="67to80"/><ref name="nach1968"/><ref name="newfreedoms"/><ref name="filmsite.org"/> |
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* [[Robert Mulligan]]<ref name="otherhollywoodrenaissance"/><ref name="sixtiescrackup"/> |
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* [[Floyd Mutrux]]<ref name="outsiders"/> |
|||
* [[Ralph Nelson]]<ref name="AMERICAN NEW WAVE CINEMA Part Three 1971"/> |
* [[Ralph Nelson]]<ref name="AMERICAN NEW WAVE CINEMA Part Three 1971"/> |
||
* [[Mike Nichols]]<ref name="newwavefilm.com"/><ref name="tasteofcinema.com1"/> |
* [[Mike Nichols]]<ref name="newwavefilm.com"/><ref name="tasteofcinema.com1"/><ref name="newhollywoodspirit"/><ref name="filmsite.org"/><ref name="sixtiescrackup"/> |
||
* [[Alan J. Pakula]]<ref name="newwavefilm.com"/> |
* [[Alan J. Pakula]]<ref name="newwavefilm.com"/><ref name="newhollywoodcriterion"/><ref name="67to80"/><ref name="newhollywoodneonoirs"/> |
||
* [[Gordon Parks]]<ref name="paramountinthe70s">[https://www.moma.org/calendar/film/5721 Paramount in the 1970s|MoMA]</ref> |
|||
* [[Sam Peckinpah]]<ref name="newwavefilm.com"/><ref name="tasteofcinema.com1"/> |
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* [[ |
* [[Ivan Passer]]<ref name="newhollywoodtreatment"/><ref name="auto5"/><ref name="nach1968"/> |
||
* [[Sam Peckinpah]]{{refn|<ref name="newwavefilm.com"/><ref name="tasteofcinema.com1"/><ref name="thefall"/><ref name="filmsite.org"/>}} |
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* [[Roman Polanski]]<ref name="cinelinx.com"/> |
|||
* [[ |
* [[Melvin Van Peebles]]<ref name="auto1"/><ref name="ReferenceB"/> |
||
* [[ |
* [[Larry Peerce]]<ref name="otherhollywoodrenaissance"/> |
||
* [[Arthur Penn]]<ref name="newwavefilm.com"/><ref name="tasteofcinema.com1"/><ref name="auto"/><ref name="newhollywoodspirit"/><ref name="newhollywoodcriterion"/> |
|||
* [[George A. Romero]]<ref>[http://www.alternativenation.net/new-hollywood-rewind-birth-blockbuster/ New Hollywood Rewind: The Birth of the Blockbuster - AlternativeNation.net]</ref><ref>{{cite web|url=https://www.vanityfair.com/hollywood/2018/05/watching-rosemarys-baby-in-the-age-of-metoo|title=The Devil Inside: Watching Rosemary's Baby in the Age of #MeToo|first=Laura|last=Jacobs|website=HWD}}</ref> |
|||
* [[ |
* [[Frank Perry]]<ref name="67to80"/><ref name="otherhollywoodrenaissance"/><ref name="swimmer"/> |
||
* [[Roman Polanski]]{{refn|<ref name="cinelinx.com"/><ref name="70splay30s"/><ref name="sept2022"/><ref name="67to80"/><ref name="lostillusions"/>}} |
|||
* [[Alan Rudolph]]<ref>[https://mubi.com/notebook/posts/alan-rudolph-and-keith-carradine-in-conversation Alan Rudolph and Keith Carradine in Conversation on Notebook|MUBI]</ref> |
|||
* [[ |
* [[Sydney Pollack]]<ref name="flickchart.com"/><ref name="nach1968"/> |
||
* [[Bob Rafelson]]<ref name="pastemagazine.com"/><ref name="rafelsonap">[https://apnews.com/article/entertainment-martin-scorsese-obituaries-steven-spielberg-508d25aabfb6e8ec0c4818dad2dfb16a Bob Rafelson, New Hollywood era director, dies at 89| AP News]</ref><ref name="newhollywoodbackstage"/><ref name="67to80"/> |
|||
* [[Franklin J. Schaffner]]<ref name="academia">{{cite web|url=https://www.academia.edu/9918618|title=Allegories of post-Fordism in 1970s New Hollywood: Countercultural combat films, conspiracy thrillers as genre-recycling (2004) | Drehli Robnik|website=Academia.edu|access-date=July 19, 2018}}</ref> |
|||
* [[Michael Ritchie (film director)|Michael Ritchie]]{{sfn|Kirshner|2012|p=191}}<ref name="67to80"/><ref name="otherhollywoodrenaissance"/><ref name="nach1968"/><ref name="filmsite.org"/> |
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* [[Jerry Schatzberg]]<ref name="flickchart.com"/> |
|||
* [[ |
* [[Martin Ritt]]<ref name="otherhollywoodrenaissance"/> |
||
* [[George A. Romero]]<ref>{{Cite web|url=http://www.alternativenation.net/new-hollywood-rewind-birth-blockbuster/|title=New Hollywood Rewind: The Birth of the Blockbuster|first=Anthony|last=Carioscia|date=December 27, 2018}}</ref><ref>{{cite web|url=https://www.vanityfair.com/hollywood/2018/05/watching-rosemarys-baby-in-the-age-of-metoo|title=The Devil Inside: Watching Rosemary's Baby in the Age of #MeToo|first=Laura|last=Jacobs|website=HWD|date=May 31, 2018}}</ref><ref name="ReferenceB"/><ref name="filmsite.org"/> |
|||
* [[Paul Schrader]]<ref name="jahsonic.com"/> |
|||
* [[Stuart Rosenberg]]<ref name="flickchart.com"/><ref name="nach1968"/><ref name="sixtiescrackup"/> |
|||
* [[Martin Scorsese]]<ref name="tasteofcinema.com2"/><ref>[https://meaww.com/cursed-films-twilight-zone-the-movie-set-vic-morrow-death-john-landis-steven-spielberg-helicopter Cursed Films' 'Twilight Zone: The Movie' is a devastating account of a tragedy that shook Hollywood to the core|MEAWW]</ref> |
|||
* [[Alan Rudolph]]<ref>{{Cite web|url=https://mubi.com/notebook/posts/alan-rudolph-and-keith-carradine-in-conversation|title=Alan Rudolph and Keith Carradine in Conversation|website=MUBI|date=June 18, 2018 }}</ref><ref name="otherhollywoodrenaissance"/> |
|||
* [[Richard C. Sarafian]]<ref name="newwavefilm.com"/><ref name="limitsofauteurism"/> |
|||
* [[Franklin J. Schaffner]]<ref name="academia">{{cite journal|url=https://www.academia.edu/9918618|title=Allegories of post-Fordism in 1970s New Hollywood: Countercultural combat films, conspiracy thrillers as genre-recycling (2004) {{pipe}} Drehli Robnik|journal=The Last Great American Picture Show|page=333|access-date=July 19, 2018|last1=Robnik|first1=Drehli}}</ref><ref name="otherhollywoodrenaissance"/><ref name="filmsite.org"/> |
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* [[Jerry Schatzberg]]{{refn|<ref name="flickchart.com"/><ref name="67to80"/><ref name="otherhollywoodrenaissance"/><ref name="ReferenceB"/>}} |
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* [[John Schlesinger]]<ref name="newwavefilm.com"/><ref name="67to80"/><ref name="otherhollywoodrenaissance"/> |
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* [[Paul Schrader]]{{refn|<ref name="jahsonic.com"/><ref name="67to80"/><ref name="otherhollywoodrenaissance"/><ref name="newfreedoms"/><ref name="filmsite.org"/>}} |
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* [[Martin Scorsese]]{{refn|<ref name="tasteofcinema.com2"/><ref name="meaww.com"/><ref name="thefall"/><ref name="rafelsonap"/><ref name="howjohncarpenterrevolutionizedscifiandhorror"/>}} |
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* [[Ridley Scott]]<ref name="filmschoolwtf.com"/> |
* [[Ridley Scott]]<ref name="filmschoolwtf.com"/> |
||
* [[Don Siegel]]<ref name="flickchart.com"/> |
* [[Don Siegel]]<ref name="flickchart.com"/><ref name="Bernardoni"/> |
||
* [[Joan Micklin Silver]]<ref name="silverlinings">[https://mubi.com/specials/joan-micklin-silver MUBI Special: Silver Linings: Films by Joan Macklin Silver|MUBI]</ref><ref name="newhollywoodwomen"/><ref name="otherhollywoodrenaissance"/> |
|||
* [[Steven Spielberg]]<ref>[https://www.studiobinder.com/blog/what-is-new-hollywood/ What is New Hollywood? The The Revolution of 1960s and ‘70s Hollywood|StudioBinder]</ref> |
|||
* [[Steven Spielberg]]{{refn|<ref name="enl.auth.gr"/><ref>{{Cite web|url=http://www.theguardian.com/film/2021/mar/21/hear-me-out-why-1941-isnt-a-bad-movie|title=Hear me out: why 1941 isn't a bad movie|first=Craig|last=Lindsey|date=March 22, 2021|website=the Guardian}}</ref> |
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* [[James Toback]]<ref name="jstor.org">[https://www.jstor.org/stable/j.ctt46mxhc The Last Great American Picture Show: New Hollywood Cinema in the 1970s on JSTOR]</ref> |
|||
<ref name="auto6">{{Cite web|url=https://filmschoolrejects.com/the-darkness-of-steven-spielberg-746800968e73/|title=The Darkness of Steven Spielberg|first=Landon|last=Palmer|date=October 20, 2015|website=Film School Rejects}}</ref><ref name="rafelsonap"/><ref name="howjohncarpenterrevolutionizedscifiandhorror"/>}} |
|||
* [[Peter Yates]]<ref name="flickchart.com"/> |
|||
* [[Mel Stuart]]<ref name="otherhollywoodrenaissance"/> |
|||
* [[James Toback]]<ref name="jstor.org">{{Cite book|url=http://www.jstor.org/stable/j.ctt46mxhc|title=New Hollywood Cinema in the 1970s|year=2004|publisher=Amsterdam University Press |jstor=j.ctt46mxhc |isbn=9789053566312 }}</ref> |
|||
* [[Claudia Weill]]<ref name="otherhollywoodrenaissance"/> |
|||
* [[Haskell Wexler]]<ref name="filmsite.org"/> |
|||
* [[Peter Yates]]<ref name="flickchart.com"/><ref name="67to80"/><ref name="otherhollywoodrenaissance"/><ref name="Bernardoni"/> |
|||
* [[David Zucker]], [[Jim Abrahams]] and [[Jerry Zucker]]<ref>[https://www.jewthink.org/2020/11/04/its-shirley-something-to-remember-airplane-40-years-later/ It's 'Shirley' Something to Remember: Airplane! 40 Years Later – JewThink]</ref> |
|||
{{div col end}} |
{{div col end}} |
||
=== Others === |
=== Others === |
||
{{div col|colwidth=12em}} |
{{div col|colwidth=12em}} |
||
<!--Per [[WP:INDISCRIMINATE]], don't make this list too big. Only include people whose output during this time: 1) can be verified with a source, and 2) has a significant impact on their work.--> |
|||
* [[Dede Allen]]<ref name="npr">{{cite web|url=https://www.npr.org/templates/story/story.php?storyId=126189658|website=npr.org|title= Remembering Pioneering Film Editor Dede Allen: NPR |access-date=July 21, 2018}}</ref> |
|||
* [[ |
* [[Dede Allen]]<ref name="npr">{{cite news|url=https://www.npr.org/templates/story/story.php?storyId=126189658|newspaper=NPR.org|title= Remembering Pioneering Film Editor Dede Allen |access-date=July 21, 2018}}</ref> |
||
* [[John Alcott]]<ref name="tasteofcinema.com">{{cite web|url=http://www.tasteofcinema.com/2015/the-30-greatest-cinematographers/|title=The 30 Greatest Cinematographers of All Time « Taste of Cinema – Movie Reviews and Classic Movie Lists|website=tasteofcinema.com|date=July 3, 2015 |access-date=July 21, 2018}}</ref><ref name="atacrossroads"/> |
|||
* [[Nestor Almendros]]<ref name="enl.auth.gr"/> |
* [[Nestor Almendros]]<ref name="enl.auth.gr"/> |
||
* [[John A. Alonzo]]<ref name="enl.auth.gr"/> |
* [[John A. Alonzo]]<ref name="enl.auth.gr"/> |
||
* [[Steven Bach]]<ref>{{Cite web|url=https://www.avclub.com/my-year-of-flops-case-file-81-heavens-gate-1798212834|title=My Year Of Flops Case File #81 Heaven's Gate|date=November 1, 2007|website=The A.V. Club}}</ref> |
|||
* [[Bill Butler (cinematographer)]]<ref>[http://www.efilmcritic.com/feature.php?feature=1426 eFilmCritic - Bill Butler, Cinematographer - Profile Interview Series Vol.7]</ref> |
|||
* [[Elaine Bass|Elaine and]] [[Saul Bass]]<ref>[https://www.artofthetitle.com/title/seconds/ Seconds (1966) – Art of the Title]</ref> |
|||
* [[William Peter Blatty]]<ref>[https://www.latimes.com/entertainment/movies/la-et-mn-classic-hollywood-exorcist-45-story.html Classic Hollywood: This will turn your head around: 'The Excorcist' turns 45 this month-LA Times]</ref> |
|||
* [[Bill Butler (cinematographer)|Bill Butler]]<ref>[http://www.efilmcritic.com/feature.php?feature=1426 eFilmCritic – Bill Butler, Cinematographer – Profile Interview Series Vol.7]</ref> |
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* [[Wendy Carlos]]<ref name="amazon">{{cite web|url=https://www.amazon.com/Clockwork-Orange-Carloss-Complete-Original/dp/B00000DGXX/ref=sr_1_1?s=music&ie=UTF8&qid=1532118592&sr=1-1&keywords=wendy+carlos+clockwork+orange&dpID=514fL3LKwGL&preST=_SX300_QL70_&dpSrc=srch|title=Wendy Carlos - A Clockwork Orange: Wendy Carlos's Complete Original Score - Amazon.com Music|website=amazon.com|access-date=July 21, 2018}}</ref> |
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* [[William Peter Blatty]]<ref>{{Cite web|url=https://www.latimes.com/entertainment/movies/la-et-mn-classic-hollywood-exorcist-45-story.html|title=Classic Hollywood: This will turn your head around: 'The Exorcist' turns 45 this month|date=October 20, 2018|website=Los Angeles Times}}</ref> |
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* [[Wendy Carlos]]<ref name="amazon">{{cite web|url=https://www.amazon.com/Clockwork-Orange-Carloss-Complete-Original/dp/B00000DGXX/ref=sr_1_1?s=music&ie=UTF8&qid=1532118592&sr=1-1&keywords=wendy+carlos+clockwork+orange&dpID=514fL3LKwGL&preST=_SX300_QL70_&dpSrc=srch|title=Wendy Carlos – A Clockwork Orange: Wendy Carlos's Complete Original Score – Amazon.com Music|website=amazon.com|date=1972 |access-date=July 21, 2018}}</ref><ref>{{Cite web|url=https://www.soundtrack.net/album/a-clockwork-orange-score/|title=A Clockwork Orange – Complete Original Score (1971)|website=www.soundtrack.net}}</ref><ref>[https://mubi.com/notebook/posts/notebook-soundtrack-mix-9-secret-synthesis-the-lost-worlds-of-wendy-carlos Notebook Soundtrack Mix #9: Secret Synthesis — The Lost Worlds of Wendy Carlos on Notebook|MUBI]</ref> |
|||
* [[Michael Chapman (cinematographer)|Michael Chapman]]<ref name="tasteofcinema.com"/> |
* [[Michael Chapman (cinematographer)|Michael Chapman]]<ref name="tasteofcinema.com"/> |
||
* [[Paddy Chayefsky]]<ref name="nofilmschool">{{cite web|url=https://nofilmschool.com/2018/04/what-paddy-chayefskys-notes-network-teach-us-about-parenting-screenplay|website=No Film School|title=What Paddy Chayefsky's Notes on 'Network' Teach Us about 'Parenting' a Screenplay |access-date=July 21, 2018}}</ref> |
* [[Paddy Chayefsky]]<ref name="nofilmschool">{{cite web|url=https://nofilmschool.com/2018/04/what-paddy-chayefskys-notes-network-teach-us-about-parenting-screenplay|website=No Film School|title=What Paddy Chayefsky's Notes on 'Network' Teach Us about 'Parenting' a Screenplay |date=April 24, 2018|access-date=July 21, 2018}}</ref> |
||
* [[Stewart Copeland]]<ref name="mubi.com">{{Cite web|url=https://mubi.com/notebook/posts/notebook-soundtrack-mix-6-the-new-hollywood-mixtape|title=Notebook Soundtrack Mix #6: The New Hollywood Mixtape|website=MUBI|date=October 14, 2019 }}</ref><ref>{{Cite web|url=https://www.allmusic.com/album/rumble-fish-mw0000313328|title=Stewart Copeland – Rumble Fish Album Reviews, Songs & More | AllMusic|via=www.allmusic.com}}</ref><ref>{{Cite web|url=https://www.amazon.com/Rumble-Fish-Original-Picture-Soundtrack/dp/B001CTLVDI/ref=tmm_acs_swatch_0?_encoding=UTF8&qid=&sr=|title=Rumble Fish – Original Motion Picture Soundtrack|via=Amazon}}</ref> |
|||
* [[Pino Donaggio]]<ref name="soundtrack">{{cite web|url=https://www.soundtrack.net/album/blow-out-intrada/|website=soundtrack.net|title=Blow Out Soundtrack (1981)|access-date=July 21, 2018}}</ref> |
|||
* [[ |
* [[Pino Donaggio]]<ref name="soundtrack">{{cite web|url=https://www.soundtrack.net/album/blow-out-intrada/|website=soundtrack.net|title=Blow Out Soundtrack (1981)|access-date=July 21, 2018}}</ref><ref name="mubi.com"/> |
||
* [[Tangerine Dream]]<ref name="slantmagazine">{{cite web|url=https://www.slantmagazine.com/film/review/sorcerer|title=Sorcerer {{pipe}} Film Review|website=Slant Magazine|date=May 23, 2014|access-date=July 21, 2018}}</ref><ref>{{Cite web|url=https://www.soundtrack.net/album/sorcerer/|title=Sorcerer Soundtrack (1977)|website=www.soundtrack.net}}</ref><ref name="wildesteverthriller?">[https://www.bbc.com/culture/article/20230811-why-william-friedkins-undersung-masterpiece-sorcerer-represents-everything-hollywood-has-lost Hollywood's wildest ever thriller? – BBC]</ref> |
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* [[Bob Dylan]]<ref name="flickchart17">{{cite web|url=http://www.flickchart.com/movie/C4BE8BE1AA|title=Pat Garrett & Billy the Kid (1973)|website=Flickchart|access-date=July 21, 2018}}</ref> |
* [[Bob Dylan]]<ref name="flickchart17">{{cite web|url=http://www.flickchart.com/movie/C4BE8BE1AA|title=Pat Garrett & Billy the Kid (1973)|website=Flickchart|access-date=July 21, 2018}}</ref> |
||
* [[Roger Ebert]]<ref name="theplaylist">{{cite web|url=https://theplaylist.net/watch-siskel-and-ebert-discuss-the-lost-classics-of-the-1970s-20151118/|website=theplaylist.net|title=Watch: |
* [[Roger Ebert]]<ref name="theplaylist">{{cite web|url=https://theplaylist.net/watch-siskel-and-ebert-discuss-the-lost-classics-of-the-1970s-20151118/|website=theplaylist.net|title=Watch: 'Siskel And Ebert' Discuss The Lost Classics Of the 1970s |access-date=August 2, 2018}}</ref><ref name="mubi.com"/> |
||
* [[Robert Evans]]{{refn|<ref>{{Cite web|url=https://variety.com/2019/film/columns/robert-evans-rip-the-producer-who-stayed-in-the-picture-1203386453/|title=A Tribute to Robert Evans: The Producer Who Stayed in the Picture|first1=Owen|last1=Gleiberman|date=October 29, 2019}}</ref><ref>{{Cite web|url=http://www.theguardian.com/film/2019/oct/28/robert-evans-dies-hollywood-new-wave-coppola|title=Robert Evans: eloquent and passionate midwife to the Hollywood new wave | Peter Bradshaw|date=October 28, 2019|website=the Guardian}}</ref><ref>[https://www.nathanrabin.com/happy-place/2021/11/1/fractured-mirror-20-3-the-kid-stays-in-the-picture?rq=new%20hollywood Fractured Mirror 2.0 #3 The Kid Stays in the Picture (2002) — Nathan Rabin's Happy Place]</ref><ref name="cottonclubcollider"/><ref name="paramountinthe70s"/>}} |
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* [[William A. Fraker]]<ref name="latimes">{{cite web|url=https://www.latimes.com/local/la-me-william-fraker-20100602-story.html#|title=Los Angeles Times - We are currently unavailable in your region|website=latimes.com|access-date=July 21, 2018}}</ref> |
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* [[Pablo Ferro]]<ref>[https://www.artofthetitle.com/feature/pablo-ferro-a-career-retrospective-part-1/ Pablo Ferro: A Career Retrospective, Part 1 – Art of the Title]</ref><ref>[https://www.artofthetitle.com/feature/pablo-ferro-a-career-retrospective-part-2/ Pablo Ferro: A Career Retrospective, Part 2 – Art of the Title]</ref> |
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* [[Tak Fujimoto]]<ref name="tcm">{{cite web|url=http://www.tcm.com/tcmdb/title/24480/Badlands/articles.html|website=tcm.com|title=Badlands (1973)-Articles-TCM.com|access-date=July 21, 2018}}</ref> |
|||
* [[ |
* [[William A. Fraker]]<ref name="latimes">{{cite web|url=https://www.latimes.com/local/la-me-william-fraker-20100602-story.html#|work=Los Angeles Times|title=William A. Fraker dies at 86; Hollywood cinematographer|date=June 2, 2010}}</ref> |
||
* [[ |
* [[Tak Fujimoto]]<ref name="tcm">{{cite web|url=http://www.tcm.com/tcmdb/title/24480/Badlands/articles.html|website=tcm.com|title=Badlands (1973) – Articles – TCM.com|access-date=July 21, 2018}}</ref> |
||
* [[William Goldman]]<ref name="10classicswedliketoforget"/> |
|||
* [[Quincy Jones]]<ref>[https://www.criterion.com/current/posts/6848-quincy-goes-to-hollywood Quincy Goes to Hollywood|The Current|The Criterion Collection]</ref> |
|||
* [[ |
* [[Jerry Goldsmith]]<ref name="soundtrack2">{{cite web|url=https://www.soundtrack.net/album/chinatown-jerry-goldsmith/|website=soundtrack.net|title=Chinatown Soundtrack (1974)|access-date=July 21, 2018}}</ref><ref name="mubi.com"/> |
||
* [[Berry Gordy]]<ref name="lostmenfoundwomen"/><ref name="celebratedera"/> |
|||
* [[Conrad L. Hall]]<ref name="tasteofcinema">{{cite web|url=http://www.tasteofcinema.com/2015/the-30-greatest-cinematographers/2/|title=The 30 Greatest Cinematographers of All Time « Taste of Cinema – Movie Reviews and Classic Movie Lists|website=tasteofcinema.com|date=July 3, 2015 |access-date=July 21, 2018}}</ref> |
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* [[Bo Harwood]]<ref>[https://www.criterion.com/current/posts/5478-composing-for-cassavetes Composing for Cassavetes|Current|The Criterion Collection]</ref><ref name="mubi.com"/> |
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* [[James Wong Howe]]<ref>[https://www.nytimes.com/2022/05/27/movies/james-wong-howe-cinematographer.html James Wong Howe: A Gutsy Cinematographer Finally Gets His Due – The New York Times]</ref> |
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* [[Willard Huyck]]<ref name="messiahofevil">[https://elementsofmadness.com/2023/12/06/messiahofevil-hv/ The "Messiah of Evil" devours the screen with Radiance Films's special edition release. – Elements of Madness]</ref> |
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* [[Quincy Jones]]<ref>{{Cite web|url=https://www.criterion.com/current/posts/6848-quincy-goes-to-hollywood|title=Quincy Goes to Hollywood|first=Carol|last=Cooper|website=The Criterion Collection}}</ref> |
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* [[Pauline Kael]]<ref name="screenprism">{{cite web|url=http://screenprism.com/insights/article/the-filmmakers-handbook-what-is-the-new-hollywood-movement|title=Filmmaker's Handbook: What is the New Hollywood movement?|website=ScreenPrism|access-date=July 21, 2018}}</ref><ref name="Personal Criticism|The New Yorker"/><ref name="mubi.com"/><ref name="whenmoviesmattered"/> |
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* [[Gloria Katz]]<ref name="messiahofevil"/> |
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* [[László Kovács (cinematographer)|László Kovács]]<ref name="newwavefilm">{{cite web|url=http://www.newwavefilm.com/international/new-hollywood2.shtml|website=newwavefilm.com|title= A HISTORY OF AMERICAN NEW WAVE CINEMA Part Three: New Hollywood (1970–1971) |access-date=July 19, 2018}}</ref> |
* [[László Kovács (cinematographer)|László Kovács]]<ref name="newwavefilm">{{cite web|url=http://www.newwavefilm.com/international/new-hollywood2.shtml|website=newwavefilm.com|title= A HISTORY OF AMERICAN NEW WAVE CINEMA Part Three: New Hollywood (1970–1971) |access-date=July 19, 2018}}</ref> |
||
* [[Ring Lardner Jr.]]<ref name="andtheblacklist"/> |
|||
* [[Ennio Morricone]]<ref name="soundtrack3">{{cite web|url=https://www.soundtrack.net/album/days-of-heaven-morricone/|website=soundtrack.net|title=Days Of Heaven Soundtrack (1978) |access-date=July 21, 2018}}</ref> |
|||
* [[Barry Malkin]]<ref>[https://variety.com/2019/film/news/barry-malkin-dead-dies-the-godfather-part-two-editor-1203182114/ Barry Malkin Dead: 'The Godfather Part II' Editor Was 80 – Variety]</ref> |
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* [[Jack Nitzsche]]<ref name="amazon2">{{cite web|url=https://www.amazon.com/One-Flew-Over-Cuckoos-Nest/dp/B000000XD0|title=Jack Nitzsche, Jack Nitzsche - One Flew Over The Cuckoo's Nest: Original Soundtrack - Amazon.com Music|website=amazon.com|access-date=July 21, 2018}}</ref> |
|||
* [[Giorgio Moroder]]<ref name="mubi.com"/><ref>{{Cite web|url=https://www.amazon.com/American-Gigolo-Giorgio-Moroder/dp/B00005BJJZ/ref=sr_1_54?dchild=1&qid=1635609964&refinements=p_32:Giorgio+Moroder&s=music&sr=1-54|title=American Gigolo|date=July 20, 1980|via=Amazon}}</ref><ref>{{Cite web|url=https://www.allmusic.com/album/midnight-express-original-soundtrack-mw0000190918|title=Giorgio Moroder – Midnight Express [Original Soundtrack] Album Reviews, Songs & More | AllMusic|via=www.allmusic.com}}</ref><ref name="otherhollywoodrenaissance"/> |
|||
* [[Ennio Morricone]]<ref name="soundtrack3">{{cite web|url=https://www.soundtrack.net/album/days-of-heaven-morricone/|website=soundtrack.net|title=Days Of Heaven Soundtrack (1978)|access-date=July 21, 2018|archive-date=July 20, 2018|archive-url=https://web.archive.org/web/20180720225354/https://www.soundtrack.net/album/days-of-heaven-morricone/|url-status=dead}}</ref> |
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* [[Walter Murch]]<ref name="celebratedera"/><ref name="postfordist"/> |
|||
* [[Harry Nilsson]]<ref>{{Cite web|url=https://www.allmusic.com/album/midnight-cowboy-mw0000651960|title=Original Soundtrack – Midnight Cowboy Album Reviews, Songs & More | AllMusic|via=www.allmusic.com}}</ref><ref>{{Cite web|url=https://www.amazon.com/Midnight-Cowboy/dp/B000005JJ9/ref=tmm_acd_swatch_0?_encoding=UTF8&qid=&sr=|title=Midnight Cowboy|via=Amazon}}</ref> |
|||
* [[Jack Nitzsche]]<ref name="amazon2">{{cite web|url=https://www.amazon.com/One-Flew-Over-Cuckoos-Nest/dp/B000000XD0|title=Jack Nitzsche, Jack Nitzsche – One Flew Over The Cuckoo's Nest: Original Soundtrack – Amazon.com Music|website=amazon.com|access-date=July 21, 2018}}</ref><ref>{{Cite web|url=https://www.soundtrack.net/album/one-flew-over-the-cuckoos-nest/|title=One Flew Over The Cuckoo's Nest Soundtrack (1975)|website=www.soundtrack.net}}</ref> |
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* [[Mike Oldfield]]<ref name="soundtrack4">{{cite web|url=https://www.soundtrack.net/album/the-exorcist-1973/|website=soundtrack.net|title=The Exorcist Soundtrack (1973)|access-date=July 21, 2018}}</ref> |
* [[Mike Oldfield]]<ref name="soundtrack4">{{cite web|url=https://www.soundtrack.net/album/the-exorcist-1973/|website=soundtrack.net|title=The Exorcist Soundtrack (1973)|access-date=July 21, 2018}}</ref> |
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* [[Dan Perri]]<ref>[https://www.artofthetitle.com/designer/dan-perri/ Dan Perri – Art of the Title]</ref> |
|||
*[[Polly Platt]]<ref>[https://www.indiewire.com/2020/05/you-must-remember-this-polly-platt-karina-longworth-podcast-1202233785/ ‘You Must Remember This’: How an Unfinished Memoir Reveals Polly Platt’s Forgotten Hollywood Legacy|IndieWire]</ref> |
|||
* [[Polly Platt]]<ref>{{Cite web|url=https://www.indiewire.com/2020/05/you-must-remember-this-polly-platt-karina-longworth-podcast-1202233785/|title='You Must Remember This': How an Unfinished Memoir Reveals Polly Platt's Forgotten Hollywood Legacy|first1=Kate|last1=Erbland|date=May 28, 2020}}</ref><ref name="lostmenfoundwomen"/> |
|||
* [[Owen Roizman]]<ref name="oscars">{{cite web|url=http://www.oscars.org/governors-awards/owen-roizman|title=OWEN ROIZMAN | Oscars.org | Academy of Motion Picture Arts and Sciences|website=oscars.org|access-date=July 21, 2018}}</ref> |
|||
* [[Owen Roizman]]<ref name="oscars">{{cite web|url=http://www.oscars.org/governors-awards/owen-roizman|title=OWEN ROIZMAN {{pipe}} Oscars.org {{pipe}} Academy of Motion Picture Arts and Sciences|website=oscars.org|date=October 17, 2017|access-date=July 21, 2018}}</ref> |
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*[[Andrew Sarris]]<ref name="newwavefilm"/> |
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* [[Waldo Salt]]<ref name="andtheblacklist"/> |
|||
* [[Lalo Schifrin]]<ref name="soundtrack5">{{cite web|url=https://www.soundtrack.net/album/bullitt-2014/|website=soundtrack.net|title=Bullitt Soundtrack (1968)|access-date=July 21, 2018}}</ref> |
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* [[Andrew Sarris]]<ref name="newwavefilm"/> |
|||
* [[David Shire]]<ref name="soundtrack6">{{cite web|url=https://www.soundtrack.net/album/the-conversation/|website=soundtrack.net|title=The Conversation Soundtrack (1974)|access-date=July 21, 2018}}</ref> |
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* [[ |
* [[John Sayles]]<ref name="filmsite.org"/> |
||
* [[Lalo Schifrin]]<ref name="soundtrack5">{{cite web|url=https://www.soundtrack.net/album/bullitt-2014/|website=soundtrack.net|title=Bullitt Soundtrack (1968)|access-date=July 21, 2018}}</ref><ref>{{Cite web|url=https://www.allmusic.com/album/thx-1138-original-motion-picture-soundtrack-mw0000551994|title=Original Soundtrack – THX 1138 [Original Motion Picture Soundtrack] Album Reviews, Songs & More | AllMusic|via=www.allmusic.com}}</ref><ref name="mubi.com"/> |
|||
* [[Vittorio Storaro]]<ref name="tasteofcinema2">{{cite web|url=http://www.tasteofcinema.com/2018/the-10-most-influential-cinematographers-of-all-time/2/|title=The 10 Most Influential Cinematographers of All Time « Taste of Cinema - Movie Reviews and Classic Movie Lists|website=tasteofcinema.com|access-date=July 21, 2018}}</ref> |
|||
* [[Bert Schneider]]<ref>[https://www.ucpress.edu/blog/58976/revisiting-an-oscar-night-controversy-in-1975/ Revisiting an Oscar Night Controversy – in 1975 – UC Press Blog]</ref> |
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* [[Robert Towne]]<ref name="cinephiliabeyond">{{cite web|url=https://cinephiliabeyond.org/last-detail-hal-ashby-robert-townes-slice-70s-america/|title='The Last Detail': Hal Ashby and Robert Towne's Slice of the '70s America • Cinephilia & Beyond|website=cinephiliabeyond.org|access-date=July 21, 2018}}</ref> |
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* [[Thelma Schoonmaker]]<ref>{{Cite web|url=https://www.huffpost.com/entry/woodstock-trivia_n_4334870|title=13 Things You Didn't Know About Woodstock|date=November 25, 2013|website=HuffPost}}</ref><ref>{{Cite web|url=https://www.mtv.com/news/1okrrz/whats-the-big-deal-raging-bull-1980|archive-url=https://web.archive.org/web/20230408062404/https://www.mtv.com/news/1okrrz/whats-the-big-deal-raging-bull-1980|url-status=dead|archive-date=April 8, 2023|title=What's the Big Deal?: Raging Bull (1980)|website=MTV}}</ref> |
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* [[Tom Waits]]<ref>[https://www.allmusic.com/album/one-from-the-heart-mw0000308412 One from the Heart - Tom Waits, Crystal Gale|AllMusic]</ref> |
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* [[David Shire]]<ref name="soundtrack6">{{cite web|url=https://www.soundtrack.net/album/the-conversation/|website=soundtrack.net|title=The Conversation Soundtrack (1974)|access-date=July 21, 2018}}</ref><ref name="mubi.com"/> |
|||
* [[Gene Siskel]]<ref name="theplaylist"/><ref name="mubi.com"/> |
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* [[Vittorio Storaro]]<ref name="tasteofcinema2">{{cite web|url=http://www.tasteofcinema.com/2018/the-10-most-influential-cinematographers-of-all-time/2/|title=The 10 Most Influential Cinematographers of All Time « Taste of Cinema – Movie Reviews and Classic Movie Lists|website=tasteofcinema.com|date=January 30, 2018 |access-date=July 21, 2018}}</ref><ref name="postfordist"/> |
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* [[Robert Surtees (cinematographer)|Robert Surtees]]<ref name="10classicswedliketoforget"/> |
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* [[Robert Towne]]<ref name="cinephiliabeyond">{{cite web|url=https://cinephiliabeyond.org/last-detail-hal-ashby-robert-townes-slice-70s-america/|title='The Last Detail': Hal Ashby and Robert Towne's Slice of the '70s America • Cinephilia & Beyond|website=cinephiliabeyond.org|date=April 26, 2016|access-date=July 21, 2018}}</ref><ref name="filmsite.org"/> |
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* [[Donald Trumbull]]<ref name="atacrossroads"/><ref name="kubricksspaceodyessey"/> |
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* [[Vangelis]]<ref name="mubi.com"/> |
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* [[Tom Waits]]<ref>{{Cite web|url=https://www.allmusic.com/album/one-from-the-heart-mw0000308412|title=Tom Waits, Crystal Gayle – One from the Heart Album Reviews, Songs & More | AllMusic|via=www.allmusic.com}}</ref><ref>{{Cite web|url=https://www.soundtrack.net/album/one-from-the-heart/|title=One From The Heart Soundtrack (1982 / 2004)|website=www.soundtrack.net}}</ref><ref name="auto5">{{Cite web|url=https://www.bfi.org.uk/lists/one-great-new-hollywood-film-every-year-1967-82|title=One great New Hollywood film for every year (1967 to 82)|website=BFI|date=August 17, 2017 }}</ref><ref name="thefall"/> |
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* [[Haskell Wexler]]<ref name="newwavefilm.com"/> |
* [[Haskell Wexler]]<ref name="newwavefilm.com"/> |
||
* [[John Williams]]<ref name="variety">{{cite web|url=https://variety.com/2018/film/awards/john-williams-could-set-oscar-record-1202658996/|author=Jon Burlingame|title=John Williams Could Set Another Oscar Record|website=Variety|access-date=July 21, 2018}}</ref> |
* [[John Williams]]<ref name="variety">{{cite web|url=https://variety.com/2018/film/awards/john-williams-could-set-oscar-record-1202658996/|author=Jon Burlingame|title=John Williams Could Set Another Oscar Record|website=Variety|date=January 10, 2018|access-date=July 21, 2018}}</ref><ref>{{Cite web|url=https://www.allmusic.com/album/jaws-original-score-mw0000314415|title=John Williams – Jaws [Original Score] Album Reviews, Songs & More | AllMusic|via=www.allmusic.com}}</ref> |
||
* [[Gordon Willis]]<ref name="newwavefilm.com"/> |
* [[Gordon Willis]]<ref name="newwavefilm.com"/><ref name="newhollywoodspirit"/> |
||
* [[Vilmos Zsigmond]]<ref name="afi">{{cite web|url=http://blog.afi.com/remembering-legendary-cinematographers-haskell-wexler-and-vilmos-zsigmond/|website=American Film Institute|title=Remembering Legendary Cinematographers Haskell Wexler and Vilmos Zsigmond |access-date=July 21, 2018}}</ref><ref>{{cite |
* [[Frank Yablans]]<ref name="postfordist">[https://www.google.com/books/edition/Post_Fordist_Cinema/P2NbDwAAQBAJ?hl=en&gbpv=0 Post-Fordist Cinema: Hollywood Auteurs and the Corporate Counterculture – Google Books (ch. "Introduction The Business of Auteur Theory")]</ref> |
||
* [[Vilmos Zsigmond]]<ref name="afi">{{cite web|url=http://blog.afi.com/remembering-legendary-cinematographers-haskell-wexler-and-vilmos-zsigmond/|website=American Film Institute|title=Remembering Legendary Cinematographers Haskell Wexler and Vilmos Zsigmond |access-date=July 21, 2018}}</ref><ref>{{cite magazine|url=https://www.rollingstone.com/movies/movie-news/michael-cimino-the-deer-hunter-director-dead-at-77-237644/|title=Michael Cimino, 'The Deer Hunter' Director, Dead at 77|first1=Daniel|last1=Kreps|magazine=[[Rolling Stone]]|date=July 2, 2016}}</ref> |
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{{div col end}} |
{{div col end}} |
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==List of |
==List of notable films== |
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<!--Per [[WP:INDISCRIMINATE]], don't make this list too big. Only include films that: 1) can be verified with a source, and 2) has a significant impact on their work.--> |
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The following is a chronological list of notable films that are generally considered to be "New Hollywood" productions. |
The following is a chronological list of notable films that are generally considered to be "New Hollywood" productions. |
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{{div col|colwidth=25em}} |
{{div col|colwidth=25em}} |
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* ''[[Mickey One]]'' (1965)<ref name="ReferenceA"> |
* ''[[Mickey One]]'' (1965)<ref name="ReferenceA">{{Cite web|url=http://www.tasteofcinema.com/2014/15-sleeper-films-of-the-new-hollywood-era-that-are-worth-seeing/|title=15 Sleeper Films Of The New Hollywood Era That Are Worth Seeing|first=James|last=Davidson|date=June 12, 2014 }}</ref><ref>[https://midcenturycinema.org/2015/09/24/50-years-ago-this-week-arthur-penns-mickey-one/ 50 Years Ago This Week – Arthur Penn's Mickey One – MidCenturyCinema]</ref> |
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* ''[[Seconds (1966 film)|Seconds]]'' (1966)<ref>[https://offscreen.com/view/seconds-john-frankenheimer-1967-and-point-blank-john-boorman-1968 Seconds (John Frankenheimer, 1967) and Point Blank (John Boorman, 1968) – Offscreen]</ref><ref name="newhollywoodcriterion"/> ≈ |
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* ''[[The Chase (1966 film)|The Chase]]'' (1966)<ref>{{cite web|url=http://www.flickchart.com/movie/9A4AF60F2F|title=The Chase|via=www.flickchart.com}}</ref> |
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* ''[[Who's Afraid of Virginia Woolf? (film)|Who's Afraid of Virginia Woolf?]]'' (1966){{sfn|Thompson|Bordwell|2003|p=515}}<ref |
* ''[[Who's Afraid of Virginia Woolf? (film)|Who's Afraid of Virginia Woolf?]]'' (1966){{sfn|Thompson|Bordwell|2003|p=515}}<ref name="otherhollywoodrenaissance"/><ref name="celebratedera"/> ≈ |
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* ''[[The Wild Angels]]'' (1966)<ref>{{cite web|last1=Nashawaty |first1=Chris|title=Book Excerpt: Crab Monsters, Teenage Cavemen, and Candy Stripe Nurses|url=https://www.rogerebert.com/features/book-excerpt-crab-monsters-teenage-cavemen-and-candy-stripe-nurses|year=2013}}</ref> |
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* ''[[Seconds (1966 film)|Seconds]]'' (1966)<ref>{{cite web|url=http://www.flickchart.com/movie/07D6BEA568|title=Seconds|via=www.flickchart.com}}</ref> |
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* ''[[The Shooting]]'' (1966)<ref |
* ''[[The Shooting]]'' (1966)<ref name="newwavefilm"/><ref name="filmsite.org"/> |
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* ''[[Ride in the Whirlwind]]'' (1966)<ref |
* ''[[Ride in the Whirlwind]]'' (1966)<ref name="newwavefilm"/><ref name="filmsite.org"/> |
||
* ''[[You're a Big Boy Now]]'' (1966)<ref name="goingallinagain">[https://www.34st.com/article/2024/04/francis-ford-coppola-megalopolis-godfather-apocalypse-now Francis Ford Coppola is Going All In Again|34th Street Magazine]</ref><ref name="best new Hollywood movies you probably haven't seen"/> |
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* ''[[You're a Big Boy Now]]'' (1966)<ref name="You're A Big Boy Now 1966"/> |
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* ''[[ |
* ''[[Portrait of Jason]]'' (1967)<ref name="hollywood.com">[https://www.hollywood.com/movies/looking-back-on-hollywoods-second-golden-age-60822140 Looking Back on Hollywood's Second Golden Age|Hollywood.com]</ref>≈ |
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* ''[[In the Heat of the Night (film)|In the Heat of the Night]]'' (1967)<ref name="hollywood.com"/><ref name="newhollywoodthrillers">[https://collider.com/new-hollywood-movie-thrillers-best-ranked/ 10 Best New Hollywood Thrillers, Ranked|Collider]</ref> ≈ |
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* ''[[Bonnie and Clyde (film)|Bonnie and Clyde]]'' (1967){{sfn|Thompson|Bordwell|2003|p=513}}{{sfn|Harris|2008|p=1–4}} |
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* ''[[ |
* ''[[Bonnie and Clyde (film)|Bonnie and Clyde]]'' (1967){{sfn|Thompson|Bordwell|2003|p=513}}{{sfn|Harris|2008|p=1–4}}<ref name="therise"/><ref name="accordingtotarantino">[https://artreview.com/film-history-according-to-tarantino/ Film History According to Tarantino – ArtReview]</ref><ref name="farout"/><ref name="mubi.com"/><ref name="newhollywoodbackstage"/> ≈ |
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* ''[[The Graduate]]'' (1967){{sfn|Thompson|Bordwell|2003|p=513}}{{sfn|Krämer|2005|p=8}}{{sfn|Harris|2008|p=1–4}}<ref name="accordingtotarantino"/><ref name="newhollywoodspirit"/><ref name="newhollywoodbackstage"/> ≈ |
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* ''[[In Cold Blood (film)|In Cold Blood]]'' (1967)<ref>{{cite web|url=http://www.flickchart.com/movie/792FA8C48D|title=In Cold Blood|via=www.flickchart.com}}</ref> |
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* ''[[Who's That Knocking at My Door]]'' (1967)<ref name="67to80"/><ref name="best new Hollywood movies you probably haven't seen"/> |
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* ''[[Reflections in a Golden Eye (film)|Reflections in a Golden Eye]]'' (1967)<ref>{{cite web|url=http://www.flickchart.com/movie/B95D246070|title=Reflections in a Golden Eye|via=www.flickchart.com}}</ref> |
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* ''[[ |
* ''[[In Cold Blood (film)|In Cold Blood]]'' (1967)<ref name="auto5"/><ref>[https://www.filmcomment.com/blog/cinema-67-revisited-cold-blood/ Cinema '67 Revisited: In Cold Blood – Film Comment Magazine]</ref> ≈ |
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* ''[[Reflections in a Golden Eye (film)|Reflections in a Golden Eye]]'' (1967)<ref name="newhollywoodspirit"/> |
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* ''[[Who's That Knocking at My Door]]'' (1967)<ref>{{cite web|url=http://www.flickchart.com/movie/25C14B48CC|title=Who's That Knocking At My Door|via=www.flickchart.com}}</ref> |
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* ''[[The Dirty Dozen]]'' (1967){{sfn|Thompson|Bordwell|2003|p=514}}{{sfn|Harris|2008|p=1–4}} |
* ''[[The Dirty Dozen]]'' (1967){{sfn|Thompson|Bordwell|2003|p=514}}{{sfn|Harris|2008|p=1–4}}<ref name="academia"/><ref name="historicalfilm"/> |
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* ''[[Dont Look Back]]'' (1967){{sfn|Harris|2008|p=1–4}} |
* ''[[Dont Look Back]]'' (1967){{sfn|Harris|2008|p=1–4}}≈ |
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* ''[[Point Blank (1967 film)|Point Blank]]'' (1967){{sfn|Harris|2008|p=386}} |
* ''[[Point Blank (1967 film)|Point Blank]]'' (1967){{sfn|Harris|2008|p=386}}<ref name="auto5"/><ref name="67to80"/>≈ |
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* ''[[The Trip (1967 film)|The Trip]]'' (1967)<ref name="ReferenceA"/> |
* ''[[The Trip (1967 film)|The Trip]]'' (1967)<ref name="ReferenceA"/> |
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* ''[[David Holzman's Diary]]'' (1967)<ref name="ReferenceB"> |
* ''[[David Holzman's Diary]]'' (1967)<ref name="ReferenceB">{{Cite web|url=http://www.tasteofcinema.com/2016/25-new-hollywood-era-films-that-projected-the-hopes-and-fears-of-the-times/|title=25 New Hollywood Era Films That Projected the Hopes and Fears of the Times|first=Josh|last=Schasny|date=March 4, 2016 }}</ref> ≈ |
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*''[[ |
* ''[[Funny Girl (film)|Funny Girl]]'' (1968)<ref name="celebratedera"/>≈ |
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* ''[[ |
* ''[[The Producers (1967 film)|The Producers]]'' (1968)<ref name="67to80">[https://www.robertcmorton.com/new-hollywood/ New Hollywood Era: How Visionary Filmmakers Transformed American Cinema from 1967–1980 – Robert C Morton]</ref>≈ |
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* ''[[The Swimmer (1968 film)|The Swimmer]]'' (1968)<ref>{{cite web|url=http://www.americancinemathequecalendar.com/content/the-swimmer|title=THE SWIMMER |
* ''[[The Swimmer (1968 film)|The Swimmer]]'' (1968)<ref name="swimmer">{{cite web|url=http://www.americancinemathequecalendar.com/content/the-swimmer|title=THE SWIMMER – American Cinematheque|website=www.americancinemathequecalendar.com|access-date=2018-09-23|archive-date=2022-09-26|archive-url=https://web.archive.org/web/20220926051640/http://americancinemathequecalendar.com/content/the-swimmer|url-status=dead}}</ref> |
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* ''[[Coogan's Bluff (film)|Coogan's Bluff]]'' (1968){{sfn|Thompson|Bordwell|2003|p=528}} |
* ''[[Coogan's Bluff (film)|Coogan's Bluff]]'' (1968){{sfn|Thompson|Bordwell|2003|p=528}} |
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* ''[[Greetings (1968 film)|Greetings]]'' (1968){{sfn|Thompson|Bordwell|2003|p=516}} |
* ''[[Greetings (1968 film)|Greetings]]'' (1968){{sfn|Thompson|Bordwell|2003|p=516}}<ref name="auto5"/> |
||
* ''[[2001: A Space Odyssey (film)|2001: A Space Odyssey]]'' (1968){{sfn|Thompson|Bordwell|2003|p=517}}{{sfn|Harris|2008|pp=416–417}} |
* ''[[2001: A Space Odyssey (film)|2001: A Space Odyssey]]'' (1968){{sfn|Thompson|Bordwell|2003|p=517}}{{sfn|Harris|2008|pp=416–417}}<ref name="farout"/><ref name="mubi.com"/>≈ |
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* ''[[Planet of the Apes (1968 film)|Planet of the Apes]]'' (1968){{sfn|Harris|2008|p=422}} |
* ''[[Planet of the Apes (1968 film)|Planet of the Apes]]'' (1968){{sfn|Harris|2008|p=422}} ≈ |
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* ''[[Petulia]]'' (1968){{sfn|Thompson|Bordwell|2003|p=517}} |
* ''[[Petulia]]'' (1968){{sfn|Thompson|Bordwell|2003|p=517}}<ref name="auto5"/> |
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* ''[[Rosemary's Baby (film)|Rosemary's Baby]]'' (1968)<ref name=" |
* ''[[Rosemary's Baby (film)|Rosemary's Baby]]'' (1968)<ref name="auto5"/><ref name="otherhollywoodrenaissance"/><ref name="newhollywoodthrillers"/><ref name="newhollywoodhorror"/>≈ |
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* '' |
* ''[[The Thomas Crown Affair (1968 film)|The Thomas Crown Affair]]'' (1968)<ref name="otherhollywoodrenaissance"/>≈ |
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* ''[[Faces (1968 film)|Faces]]'' (1968)<ref name="otherhollywoodrenaissance"/><ref name="ReferenceB"/>≈ |
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* ''[[Bullitt]]'' (1968){{sfn|Kirshner|2012|p=127}} |
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* ''[[Targets]]'' (1968)<ref name="newwavefilm.com"/><ref name="filmsite.org"/> |
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* ''[[Night of the Living Dead]]'' (1968){{sfn|Thompson|Bordwell|2003|p=530}} |
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* ''[[Bullitt]]'' (1968){{sfn|Kirshner|2012|p=127}}<ref>[https://www.slashfilm.com/1062565/steve-mcqueens-bullitt-set-a-new-standard-for-what-car-chase-scenes-could-be/ Steve McQueen's Bullitt Set A New Standard For What Car Chase Scenes Could Be|/Film]</ref><ref name="otherhollywoodrenaissance"/> ≈ |
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* ''[[Head (film)|Head]]'' (1968)<ref name=Crawford>{{cite news|last=Crawford|first=Travis|title=Criterion: American Lost and Found: The BBS Story|url=http://filmmakermagazine.com/16844-america-lost-and-found-the-bbs-story/|access-date=February 19, 2013|newspaper=Filmmaker Magazine|date=16 December 2010}}</ref><ref name="New American Cinema"/> |
|||
* ''[[ |
* ''[[Night of the Living Dead]]'' (1968){{sfn|Thompson|Bordwell|2003|p=530}}<ref name="ReferenceB"/><ref name="newhollywoodhorror"/>≈ |
||
* ''[[Head (film)|Head]]'' (1968)<ref name=Crawford>{{cite news|last=Crawford|first=Travis|title=Criterion: American Lost and Found: The BBS Story|url=http://filmmakermagazine.com/16844-america-lost-and-found-the-bbs-story/|access-date=February 19, 2013|newspaper=Filmmaker Magazine|date=December 16, 2010}}</ref><ref name="auto5"/> |
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* ''[[Alice's Restaurant (film)|Alice's Restaurant]]'' (1969){{sfn|Harris|2008|p=386}} |
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* ''[[ |
* ''[[Downhill Racer]]'' (1969)<ref name="67to80"/> |
||
* ''[[ |
* ''[[Alice's Restaurant (film)|Alice's Restaurant]]'' (1969){{sfn|Harris|2008|p=386}}<ref name="auto5"/><ref name="nach1968"/> |
||
* ''[[ |
* ''[[Easy Rider]]'' (1969){{sfn|Thompson|Bordwell|2003|p=518}}<ref name=Crawford/><ref name="accordingtotarantino"/><ref name="rafelsonap"/><ref name="farout"/><ref name="american70s"/><ref name="filmsite.org"/>≈ |
||
* ''[[Medium Cool]]'' (1969){{sfn|Thompson|Bordwell|2003|p=518}}<ref name="67to80"/>≈ |
|||
* ''[[Putney Swope]]'' (1969) <ref name="filmsite.org">[https://www.filmsite.org/70sintro.html Film History of the 1970s - filmsite.org]</ref> |
|||
* ''[[ |
* ''[[Midnight Cowboy]]'' (1969){{sfn|Thompson|Bordwell|2003|p=513}}<ref name="auto5"/><ref name="therise"/><ref name="farout"/>≈ |
||
* ''[[Putney Swope]]'' (1969)<ref name="filmsite.org"/>≈ |
|||
* ''[[Goodbye, Columbus (film)|Goodbye, Columbus]]'' (1969)<ref name="ReferenceC">[http://www.tasteofcinema.com/2015/the-30-most-underappreciated-movies-of-the-new-hollywood-era/ The 30 Most Underappreciated Movies of the New Hollywood Era « Taste of Cinema]</ref> |
|||
* ''[[ |
* ''[[The Rain People]]'' (1969){{sfn|Thompson|Bordwell|2003|p=519}}<ref name="goingallinagain"/><ref name="nach1968"/> |
||
* ''[[Goodbye, Columbus (film)|Goodbye, Columbus]]'' (1969)<ref name="ReferenceC">{{Cite web|url=http://www.tasteofcinema.com/2015/the-30-most-underappreciated-movies-of-the-new-hollywood-era/|title=The 30 Most Underappreciated Movies of The New Hollywood Era|first=Woodson|last=Hughes|date=November 20, 2015 }}</ref> |
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* ''[[The Wild Bunch]]'' (1969){{sfn|Thompson|Bordwell|2003|p=515}} |
|||
* ''[[ |
* ''[[Take the Money and Run (film)|Take the Money and Run]]'' (1969){{sfn|Thompson|Bordwell|2003|p=528}} |
||
* ''[[ |
* ''[[The Wild Bunch]]'' (1969){{sfn|Thompson|Bordwell|2003|p=515}}<ref name="auto5"/>≈ |
||
* ''[[ |
* ''[[Bob & Carol & Ted & Alice]]'' (1969){{sfn|Thompson|Bordwell|2003|p=515}}<ref name="filmsite.org"/> |
||
* ''[[Butch Cassidy and the Sundance Kid]]'' (1969){{sfn|Thompson|Bordwell|2003|p=514}}{{sfn|Krämer|2005|p=8}}≈ |
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* ''[[Wanda (film)|Wanda]]'' (1970)<ref name="ReferenceB"/> |
|||
* ''[[They Shoot Horses, Don't They? (film)|They Shoot Horses, Don't They?]]'' (1969){{sfn|Thompson|Bordwell|2003|p=519}}<ref name="67to80"/> |
|||
* ''[[Husbands (film)|Husbands]]'' (1970)<ref>{{cite web |title=Husbands (1970) |publisher=[[Flickchart]] |url=https://www.flickchart.com/movie/C3BD847B6F |access-date=20 April 2020}}</ref> |
|||
* ''[[Wanda (film)|Wanda]]'' (1970)<ref name="ReferenceB"/><ref name="Filmmuseum - Program SD"/><ref>[https://lareviewofbooks.org/article/the-dark-side-of-the-new-hollywood-on-jon-lewiss-road-trip-to-nowhere/ The Dark Side of the New Hollywood: On Jon Lewis's "Road Trip to Nowhere" – Los Angeles Review of Books]</ref><ref name="whenmoviesmattered">[https://books.google.com/books?id=WKZzDwAAQBAJ When the Movies Mattered – Google Books]</ref><ref name="newhollywoodbackstage"/><ref name="farout">[https://faroutmagazine.co.uk/the-20-best-american-new-wave-martin-scorsese-stanley-kubrick/ 20 essential films from the American New Wave|Far Out Magazine]</ref><ref name="newhollywoodwomen"/><ref name="outsiders"/>≈ |
|||
* ''[[The Boys in the Band (1970 film)|The Boys in the Band]]'' (1970)<ref name="ReferenceC"/> |
|||
* ''[[Watermelon Man (film)|Watermelon Man]]'' (1970)<ref name="newhollywoodcriterion">[https://www.criterion.com/current/posts/8566-the-criterion-channel-s-september-2024-lineup The Criterion Channel's September 2024 Lineup|Current|The Criterion Collection]</ref> |
|||
* ''[[Hi, Mom!]]'' (1970)<ref name="best new Hollywood movies you probably haven't seen"/> |
|||
* ''[[The Boys in the Band (1970 film)|The Boys in the Band]]'' (1970)<ref name="ReferenceC"/><ref name="67to80"/> |
|||
* ''[[Diary of a Mad Housewife]]'' (1970)<ref name="67to80"/><ref name="otherhollywoodrenaissance"/><ref name="amny70s"/> |
|||
* ''[[Alex in Wonderland]]'' (1970){{sfn|Thompson|Bordwell|2003|p=519}} |
* ''[[Alex in Wonderland]]'' (1970){{sfn|Thompson|Bordwell|2003|p=519}} |
||
* ''[[ |
* ''[[Husbands (film)|Husbands]]'' (1970)<ref name="otherhollywoodrenaissance"/><ref name="fordtocity"/> |
||
* ''[[Catch-22 (film)|Catch-22]]'' (1970){{sfn|Thompson|Bordwell|2003|p=519}}<ref name="67to80"/><ref name="nach1968"/> |
|||
* ''[[MASH (film)|MASH]]'' (1970)<ref>[https://www.theguardian.com/film/2020/jan/21/mash-movie-robert-altman-misogyny M*A*S*H at 50: the Robert Altman comedy that revels in cruel misogyny] The Guardian. 21 January 2020.</ref> |
|||
* ''[[The Landlord]]'' (1970)<ref name="american70s"/><ref name="otherhollywoodrenaissance"/><ref name="outsiders"/> |
|||
* ''[[Love Story (1970 film)|Love Story]]'' (1970){{sfn|Krämer|2005|p=8}} |
|||
* ''[[MASH (film)|MASH]]'' (1970)<ref>[https://www.theguardian.com/film/2020/jan/21/mash-movie-robert-altman-misogyny M*A*S*H at 50: the Robert Altman comedy that revels in cruel misogyny] The Guardian. January 21, 2020.</ref><ref name="auto5"/><ref name="newhollywoodspirit"/><ref name="newfreedoms"/><ref name="Bernardoni"/>≈ |
|||
* ''[[Airport (1970 film)|Airport]]'' (1970){{sfn|Krämer|2005|p=8}} |
|||
* ''[[ |
* ''[[Love Story (1970 film)|Love Story]]'' (1970){{sfn|Krämer|2005|p=8}}<ref name="newwavefilm"/> |
||
* ''[[Airport (1970 film)|Airport]]'' (1970){{sfn|Krämer|2005|p=8}}<ref name="newwavefilm"/> |
|||
* ''[[Loving (1970 film)|Loving]]'' (1970)<ref name="Return">{{cite web|title=Return to New Hollywood|url=http://americancinematheque.com/archive1999/2006/NewHollywood.htm|date=March 15, 2006}}</ref> |
|||
* ''[[Bloody Mama]]'' (1970)<ref name="70splay30s"/><ref name="sept2022"/> |
|||
* ''[[The Landlord]]'' (1970)<ref>{{cite web |title=The Landlord (1970) |publisher=[[Flickchart]] |url=https://www.flickchart.com/movie/3FFFE36B12 |access-date=20 April 2020}}</ref> |
|||
* ''[[ |
* ''[[The Strawberry Statement (film)|The Strawberry Statement]]'' (1970){{sfn|Thompson|Bordwell|2003|p=515}}<ref name="otherhollywoodrenaissance"/><ref name="filmsite.org"/> |
||
* ''[[Loving (1970 film)|Loving]]'' (1970)<ref name="Return">{{cite web|title=Return to New Hollywood|url=http://americancinematheque.com/archive1999/2006/NewHollywood.htm|date=March 15, 2006}}</ref><ref name="fordtocity"/> |
|||
* ''[[Little Big Man (film)|Little Big Man]]'' (1970){{sfn|Thompson|Bordwell|2003|p=518}} |
|||
* ''[[Kelly's Heroes]]'' (1970)<ref name="academia"/> |
|||
* ''[[Brewster McCloud]]'' (1970)<ref>[https://wcftr.commarts.wisc.edu/exhibits/robert-altmans-early-career/new-hollywood-auteur New Hollywood Auteur|wcftr.commarts.wisc.edu]</ref> |
|||
* ''[[ |
* ''[[Patton (film)|Patton]]'' (1970)<ref name="otherhollywoodrenaissance"/>≈ |
||
* ''[[Five Easy Pieces]]'' (1970){{sfn|Thompson|Bordwell|2003|p=516}}<ref name=Crawford/><ref name="newhollywoodspirit"/><ref name="rafelsonap"/><ref name="american70s"/><ref name="lostillusions"/>≈ |
|||
* ''[[Patton (film)|Patton]]'' (1970){{sfn|Harris|2008|p=422}} |
|||
* ''[[Little Big Man (film)|Little Big Man]]'' (1970){{sfn|Thompson|Bordwell|2003|p=518}}<ref name="auto5"/>≈ |
|||
* ''[[Brewster McCloud]]'' (1970)<ref>{{Cite web|url=https://wcftr.commarts.wisc.edu/exhibits/robert-altmans-early-career/new-hollywood-auteur|title=New Hollywood Auteur | wcftr.commarts.wisc.edu|website=wcftr.commarts.wisc.edu|access-date=2020-04-20|archive-date=2022-12-04|archive-url=https://web.archive.org/web/20221204104834/https://wcftr.commarts.wisc.edu/exhibits/robert-altmans-early-career/new-hollywood-auteur|url-status=dead}}</ref><ref name="ReferenceA"/><ref name="best new Hollywood movies you probably haven't seen"/> |
|||
* ''[[Joe (1970 film)|Joe]]'' (1970){{sfn|Thompson|Bordwell|2003|p=515}}<ref name="filmsite.org"/> |
|||
* ''[[Woodstock (film)|Woodstock]]'' (1970)<ref name="newwavefilm"/><ref name="ReferenceG">{{Cite news|url=https://www.nytimes.com/2009/06/07/movies/homevideo/07kehr.html|title=Two Views of One Time|first=Dave|last=Kehr|newspaper=The New York Times |date=June 3, 2009}}</ref>≈ |
|||
* ''[[The Ballad of Cable Hogue]]'' (1970)<ref name="ReferenceA"/> |
* ''[[The Ballad of Cable Hogue]]'' (1970)<ref name="ReferenceA"/> |
||
* ''[[Zabriskie Point (film)|Zabriskie Point]]'' (1970){{sfn|Thompson|Bordwell|2003|p=518}} |
* ''[[Zabriskie Point (film)|Zabriskie Point]]'' (1970){{sfn|Thompson|Bordwell|2003|p=518}}<ref name="newwavefilm"/><ref name="ReferenceG"/><ref name="mubi.com"/><ref name="filmsite.org"/> |
||
* ''[[Gimme Shelter (1970 film)|Gimme Shelter]]'' (1970)<ref name="ReferenceB"/> |
* ''[[Gimme Shelter (1970 film)|Gimme Shelter]]'' (1970)<ref name="ReferenceB"/><ref name="american70s"/> |
||
* ''[[Where's Poppa]]'' (1970)<ref name="fordtocity"/> |
|||
* ''[[A New Leaf (film)|A New Leaf]]'' (1971)<ref>{{cite web |title=A New Leaf (1971) |publisher=[[Flickchart]] |url=https://www.flickchart.com/movie/B030084DF3 |access-date=20 April 2020}}</ref> |
|||
* ''[[A New Leaf (film)|A New Leaf]]'' (1971)<ref name="newhollywoodwomen">[https://collider.com/new-hollywood-movies-directed-women-best-ranked/ 10 Best New Hollywood Movies Directed by Women, Ranked|Collider]</ref><ref name="american70s">[https://filmstreams.org/series/new-hollywood-american-70s New Hollywood: American 70s|Film Streams]</ref><ref name="67to80"/><ref name="lostmenfoundwomen"/>≈ |
|||
* ''[[Drive, He Said]]'' (1971)<ref name=Crawford/><ref name="New American Cinema"/> |
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* ''[[Drive, He Said]]'' (1971)<ref name=Crawford/><ref name="newhollywoodtreatment"/> |
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* ''[[A Safe Place]]'' (1971)<ref name=Crawford/><ref name="thenation.com"/> |
|||
* ''[[Minnie and Moskowitz]]'' (1971)<ref name="otherhollywoodrenaissance"/> |
|||
* ''[[Fiddler on the Roof (film)|Fiddler on the Roof]]'' (1971){{sfn|Thompson|Bordwell|2003|p=515}} |
* ''[[Fiddler on the Roof (film)|Fiddler on the Roof]]'' (1971){{sfn|Thompson|Bordwell|2003|p=515}} |
||
* ''[[ |
* ''[[Willy Wonka and the Chocolate Factory]]'' (1971)<ref name="filmsite.org"/>≈ |
||
* ''[[The Panic in Needle Park]]'' (1971)<ref name="Return"/><ref name="67to80"/><ref name="filmsite.org"/> |
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* ''[[Play Misty for Me]]'' (1971){{sfn|Thompson|Bordwell|2003|p=528}} |
* ''[[Play Misty for Me]]'' (1971){{sfn|Thompson|Bordwell|2003|p=528}} |
||
* ''[[Shaft (1971 film)|Shaft]]'' (1971)<ref name="fordtocity"/><ref name="lostmenfoundwomen"/>≈ |
|||
* ''[[Klute]]'' (1971){{sfn|Kirshner|2012|p=94}} |
|||
* ''[[Klute]]'' (1971){{sfn|Kirshner|2012|p=94}}<ref name="newhollywoodcriterion"/><ref name="67to80"/> |
|||
* ''[[The Beguiled (1971 film)|The Beguiled]]'' (1971)<ref name="ReferenceD">[http://www.tasteofcinema.com/2015/the-30-most-underappreciated-movies-of-the-new-hollywood-era/2 The 30 Most Underappreciated Movies of the New Hollywood Era « Taste of Cinema]</ref> |
|||
* ''[[ |
* ''[[Vanishing Point (1971 film)|Vanishing Point]]'' (1971)<ref name="nach1968"/><ref name="limitsofauteurism"/> |
||
* ''[[The Beguiled (1971 film)|The Beguiled]]'' (1971)<ref name="ReferenceD">{{Cite web|url=http://www.tasteofcinema.com/2015/the-30-most-underappreciated-movies-of-the-new-hollywood-era/2/|title=The 30 Most Underappreciated Movies of The New Hollywood Era|first=Woodson|last=Hughes|date=November 20, 2015 }}</ref> |
|||
* ''[[McCabe & Mrs. Miller]]'' (1971)<ref name="New American Cinema"/> |
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* ''[[McCabe & Mrs. Miller]]'' (1971)<ref name="mubi.com"/><ref name="farout"/><ref name="lostmenfoundwomen"/><ref name="Bernardoni"/>≈ |
|||
* ''[[Carnal Knowledge (film)|Carnal Knowledge]]'' (1971)<ref>{{cite web|title=New Hollywood: 50 Movies That Reshaped the Film Industry: Carnal Knowledge (1971)|url=https://indiewire.com/gallery/new-hollywood-50-movies/#!12/carnal-knowledge-1971/|last=Nordine|first=Michael|work=[[IndieWire]]|date=April 11, 2017|access-date=March 12, 2018}}</ref> |
|||
* ''[[Carnal Knowledge (film)|Carnal Knowledge]]'' (1971)<ref>{{cite web|title=New Hollywood: 50 Movies That Reshaped the Film Industry: Carnal Knowledge (1971)|url=https://indiewire.com/gallery/new-hollywood-50-movies/#!12/carnal-knowledge-1971/|last=Nordine|first=Michael|work=[[IndieWire]]|date=April 11, 2017|access-date=March 12, 2018}}</ref><ref name="67to80"/><ref name="lostillusions"/> |
|||
* ''[[Such Good Friends]]'' (1971)<ref name="ReferenceE">[http://www.tasteofcinema.com/2015/the-30-most-underappreciated-movies-of-the-new-hollywood-era/4 The 30 Most Underappreciated Movies of the New Hollywood Era « Taste of Cinema]</ref> |
|||
* ''[[Such Good Friends]]'' (1971)<ref name="ReferenceE">{{Cite web|url=http://www.tasteofcinema.com/2015/the-30-most-underappreciated-movies-of-the-new-hollywood-era/4/|title=The 30 Most Underappreciated Movies of The New Hollywood Era|first=Woodson|last=Hughes|date=November 20, 2015 }}</ref><ref name="fordtocity"/> |
|||
* ''[[Two-Lane Blacktop]]'' (1971){{sfn|Thompson|Bordwell|2003|p=518}}<ref name="npr.org"/><ref name="New American Cinema"/> |
|||
* ''[[Taking Off (film)|Taking Off]]'' (1971)<ref name="newhollywoodspirit"/><ref name="nach1968"/><ref name="fordtocity"/> |
|||
* ''[[The Hospital ]]'' (1971)<ref>{{cite web |title=The Hospital (1971) |publisher=[[Flickchart]] |url=https://www.flickchart.com/movie/9CF9664F8A |access-date=20 April 2020}}</ref> |
|||
* ''[[ |
* ''[[Two-Lane Blacktop]]'' (1971){{sfn|Thompson|Bordwell|2003|p=518}}<ref name="npr.org"/><ref name="mubi.com"/><ref name="ReferenceA"/><ref name="nach1968"/><ref name="filmsite.org"/><ref name="limitsofauteurism"/>≈ |
||
* ''[[The Last |
* ''[[The Last Movie]]'' (1971){{sfn|Thompson|Bordwell|2003|p=518}}<ref name="newwavefilm"/><ref name="best new Hollywood movies you probably haven't seen"/><ref name="limitsofauteurism"/> |
||
* ''[[The Hired Hand]]'' (1971)<ref name="best new Hollywood movies you probably haven't seen">[https://www.slashfilm.com/521126/tbyphs-new-hollywood-movies/ The Best 'New Hollywood' Movies You Probably Haven't Seen|/Film]</ref><ref name="limitsofauteurism">[https://www.google.com/books/edition/The_Limits_of_Auteurism/mWZbDwAAQBAJ?hl=en&gbpv=0 The Limits of Auteurism: Case Studies in the Critically Constructed New Hollywood – Google Books]</ref> |
|||
* ''[[The French Connection (film)|The French Connection]]'' (1971){{sfn|Harris|2008|p=422}} |
|||
* ''[[The Last Picture Show]]'' (1971){{sfn|Thompson|Bordwell|2003|p=516}}<ref name=Crawford/><ref name="therise">[https://www.youtube.com/watch?v=E6byV69VBLw A Brief History Of New Hollywood|The Rise – Little White Lies on YouTube]</ref><ref name="rafelsonap"/><ref name="farout"/><ref name="american70s"/>≈ |
|||
* ''[[A Clockwork Orange (film)|A Clockwork Orange]]'' (1971)<ref>{{cite web|title=A History of American New Wave Cinema|url=http://www.newwavefilm.com/international/new-hollywood2.shtml|last=Hitchman|first=Simon|date=2015}}</ref> |
|||
* ''[[The French Connection (film)|The French Connection]]'' (1971){{sfn|Harris|2008|p=422}}<ref name="farout"/><ref name="lostmenfoundwomen"/><ref name="limitsofauteurism"/>≈ |
|||
* ''[[Dirty Harry]]'' (1971){{sfn|Thompson|Bordwell|2003|p=528}} |
|||
* ''[[The Anderson Tapes]]'' (1971)<ref name="fordtocity"/><ref name="amny70s"/> |
|||
* ''[[Harold and Maude]]'' (1971)<ref>{{cite web |title=Harold and Maude (1971) |publisher=[[Flickchart]] |url=https://www.flickchart.com/movie/FC1DB37EC7 |access-date=20 April 2020}}</ref> |
|||
* ''[[A Clockwork Orange (film)|A Clockwork Orange]]'' (1971)<ref>{{cite web|title=A History of American New Wave Cinema|url=http://www.newwavefilm.com/international/new-hollywood2.shtml|last=Hitchman|first=Simon|date=2015}}</ref><ref name="lostillusions">[https://www.google.com/books/edition/Lost_Illusions/HVygqYMVP2wC?hl=en&gbpv=0 Lost Illusions: American Cinema in the Shadow of Watergate and Vietnam, 1970-1979 – Google Books (p. 6)]</ref>≈ |
|||
* ''[[Straw Dogs (1971 film)|Straw Dogs]]'' (1971){{sfn|Thompson|Bordwell|2003|p=515}}<ref name="New American Cinema"/> |
|||
* ''[[ |
* ''[[Dirty Harry]]'' (1971){{sfn|Thompson|Bordwell|2003|p=528}}<ref name="nach1968"/><ref name="lostmenfoundwomen"/>≈ |
||
* ''[[Harold and Maude]]'' (1971)<ref name="newwavefilm"/><ref name="farout"/><ref name="67to80"/>≈ |
|||
* ''[[THX 1138]]'' (1971)<ref>{{cite web |title=THX 1138 (1971) |publisher=[[Flickchart]] |url=https://www.flickchart.com/movie/7C990B008F |access-date=20 April 2020}}</ref> |
|||
* ''[[Straw Dogs (1971 film)|Straw Dogs]]'' (1971){{sfn|Thompson|Bordwell|2003|p=515}}<ref name="otherhollywoodrenaissance"/><ref name="lostillusions"/> |
|||
* ''[[Sweet Sweetback's Baadasssss Song]]'' (1971){{sfn|Thompson|Bordwell|2003|p=518}}<ref name="Filmmuseum - Program SD"/><ref name="auto1"/><ref name="outsiders"/>≈ |
|||
* ''[[THX 1138]]'' (1971)<ref name="newwavefilm"/><ref name="mubi.com"/><ref name="filmsite.org"/> |
|||
* ''[[Little Murders]]'' (1971)<ref name="ReferenceC"/> |
* ''[[Little Murders]]'' (1971)<ref name="ReferenceC"/> |
||
* ''[[Billy Jack]] '' (1971)<ref name="enl.auth.gr"/> |
|||
* ''[[The Heartbreak Kid (1972 film)|The Heartbreak Kid]]'' (1972)<ref>{{cite web |title=The Heartbreak Kid (1972) |publisher=[[Flickchart]] |url=https://www.flickchart.com/movie/8AA1B9146C |access-date=20 April 2020}}</ref> |
|||
* ''[[Bananas (film)|Bananas]]'' (1971)<ref name="newfreedoms">[https://books.google.mw/books?id=pUPM9LFmetoC&printsec=frontcover#v=onepage&q&f=false The New Hollywood: What the Movies Did with the New Freedoms of the Seventies - Google Books]</ref> |
|||
* ''[[Cabaret (1972 film)|Cabaret]]'' (1972)<ref>{{cite web|title=New Hollywood: 50 Movies That Reshaped the Film Industry: Cabaret (1972)|url=https://indiewire.com/gallery/new-hollywood-50-movies/#!11/cabaret-1972/|last=Nordine|first=Michael|work=[[IndieWire]]|date=April 11, 2017|access-date=March 12, 2018}}</ref> |
|||
* ''[[Duel (1971 film)|Duel]]'' (1971)<ref name="auto5"/><ref name="nach1968"/> |
|||
* ''[[Deliverance]]'' (1972)<ref>{{cite web|title=New Hollywood: 50 Movies That Reshaped the Film Industry: Deliverance (1972)|url=https://indiewire.com/gallery/new-hollywood-50-movies/#!19/deliverance-1972/|last=Nordine|first=Michael|work=[[IndieWire]]|date=April 11, 2017|access-date=March 12, 2018}}</ref> |
|||
* ''[[The Hospital]]'' (1971)<ref name="67to80"/><ref name="otherhollywoodrenaissance"/><ref name="fordtocity"/>≈ |
|||
* ''[[Tomorrow (1972 film)|Tomorrow]]'' (1972)<ref name="ReferenceF">[http://www.tasteofcinema.com/2015/the-30-most-underappreciated-movies-of-the-new-hollywood-era/3 The 30 Most Underappreciated Movies of the New Hollywood Era « Taste of Cinema]</ref> |
|||
* ''[[They Might Be Giants (film)|They Might Be Giants]]'' (1971)<ref name="fordtocity"/> |
|||
* ''[[Born to Win]]'' (1971)<ref name="newhollywoodtreatment"/><ref name="segalnewhollywodyears">[https://midcenturycinema.org/2021/03/31/news-and-commentary-george-segal-the-new-hollywood-years/ News and Commentary – George Segal: The New Hollywood Years – MidCenturyCinema]</ref><ref name="amny70s"/><ref name="fordtocity"/> |
|||
* ''[[Dusty and Sweets McGee]]'' (1971)<ref name="outsiders"/> |
|||
* ''[[Johnny Got His Gun (film)|Johnny Got His Gun]]'' (1971)<ref name="67to80"/> |
|||
* ''[[Lady Sings the Blues (film)|Lady Sings the Blues]]'' (1972)<ref name="lostmenfoundwomen"/><ref name="celebratedera"/> |
|||
* ''[[The Heartbreak Kid (1972 film)|The Heartbreak Kid]]'' (1972)<ref name="newhollywoodbackstage"/><ref name="newhollywoodwomen"/><ref name="lostmenfoundwomen"/><ref name="outsiders"/> |
|||
* ''[[Cabaret (1972 film)|Cabaret]]'' (1972)<ref>{{cite web|title=New Hollywood: 50 Movies That Reshaped the Film Industry: Cabaret (1972)|url=https://indiewire.com/gallery/new-hollywood-50-movies/#!11/cabaret-1972/|last=Nordine|first=Michael|work=[[IndieWire]]|date=April 11, 2017|access-date=March 12, 2018}}</ref><ref name="otherhollywoodrenaissance"/><ref name="lostmenfoundwomen"/>≈ |
|||
* ''[[Deliverance]]'' (1972)<ref>{{cite web|title=New Hollywood: 50 Movies That Reshaped the Film Industry: Deliverance (1972)|url=https://indiewire.com/gallery/new-hollywood-50-movies/#!19/deliverance-1972/|last=Nordine|first=Michael|work=[[IndieWire]]|date=April 11, 2017|access-date=March 12, 2018}}</ref>≈ |
|||
* ''[[Tomorrow (1972 film)|Tomorrow]]'' (1972)<ref name="ReferenceF">{{Cite web|url=http://www.tasteofcinema.com/2015/the-30-most-underappreciated-movies-of-the-new-hollywood-era/3/|title=The 30 Most Underappreciated Movies of The New Hollywood Era|first=Woodson|last=Hughes|date=November 20, 2015 }}</ref> |
|||
* ''[[Prime Cut]]'' (1972)<ref name="shadowcinemaofamerican70s"/> |
|||
* ''[[Pocket Money]]'' (1972)<ref name="ReferenceD"/> |
* ''[[Pocket Money]]'' (1972)<ref name="ReferenceD"/> |
||
* ''[[ |
* ''[[Cisco Pike]]'' (1972)<ref name="outsiders"/><ref name="shadowcinemaofamerican70s"/> |
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* ''[[The Hot Rock (film)|The Hot Rock]]'' (1972)<ref name="fordtocity"/> |
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* ''[[Fat City (film)|Fat City]]'' (1972)<ref>{{cite web|title=New Hollywood: 50 Movies That Reshaped the Film Industry: Fat City (1972)|url=https://indiewire.com/gallery/new-hollywood-50-movies/#!22/fat-city-1972/|last=Nordine|first=Michael|work=[[IndieWire]]|date=April 11, 2017|access-date=March 12, 2018}}</ref> |
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* ''[[The Getaway (1972 film)|The Getaway]]'' (1972)<ref name="67to80"/><ref name="otherhollywoodrenaissance"/><ref name="nach1968"/> |
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* ''[[Bad Company (1972 film)|Bad Company]]'' (1972)<ref name="ReferenceF"/><ref name="paramountinthe70s"/> |
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* ''[[The Last House on the Left]]'' (1972)<ref name="grantland.com">{{cite web|url=https://grantland.com/hollywood-prospectus/wes-craven-last-house-left-anniversary-obit/|website=grantland.com|title=Night of Vengeance: Wes Craven's 'The Last House on the Left' 43 Years Later|date=September 2, 2015|access-date=September 2, 2015}}</ref> |
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* ''[[Fat City (film)|Fat City]]'' (1972)<ref>{{cite web|title=New Hollywood: 50 Movies That Reshaped the Film Industry: Fat City (1972)|url=https://indiewire.com/gallery/new-hollywood-50-movies/#!22/fat-city-1972/|last=Nordine|first=Michael|work=[[IndieWire]]|date=April 11, 2017|access-date=March 12, 2018}}</ref><ref name="mubi.com"/><ref name="67to80"/><ref name="otherhollywoodrenaissance"/><ref name="best new Hollywood movies you probably haven't seen"/> |
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* ''[[Fritz the Cat (film)|Fritz the Cat]]'' (1972){{sfn|Thompson|Bordwell|2003|p=515}} |
* ''[[Fritz the Cat (film)|Fritz the Cat]]'' (1972){{sfn|Thompson|Bordwell|2003|p=515}} |
||
* ''[[Images (film)|Images]]'' (1972){{sfn|Thompson|Bordwell|2003|p=519}} |
* ''[[Images (film)|Images]]'' (1972){{sfn|Thompson|Bordwell|2003|p=519}}<ref name="otherhollywoodrenaissance"/> |
||
* ''[[The Poseidon Adventure (1972 film)|The Poseidon Adventure]]'' (1972){{sfn|Krämer|2005|p=8}} |
* ''[[The Poseidon Adventure (1972 film)|The Poseidon Adventure]]'' (1972){{sfn|Krämer|2005|p=8}} |
||
* ''[[Slaughterhouse-Five (film)|Slaughterhouse-Five]]'' (1972){{sfn|Thompson|Bordwell|2003|p=519}} |
* ''[[Slaughterhouse-Five (film)|Slaughterhouse-Five]]'' (1972){{sfn|Thompson|Bordwell|2003|p=519}} |
||
* ''[[The Godfather]]'' (1972){{sfn|Thompson|Bordwell|2003|p=517}}{{sfn|Krämer|2005|p=8}} |
* ''[[The Godfather]]'' (1972){{sfn|Thompson|Bordwell|2003|p=517}}{{sfn|Krämer|2005|p=8}}<ref name="accordingtoimdb"/><ref name="cottonclubcollider"/><ref name="paramountinthe70s"/><ref name="mubi.com"/><ref name="lostmenfoundwomen"/>≈ |
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* ''[[ |
* ''[[Super Fly (1972 film)|Super Fly]]'' (1972)<ref name="fordtocity"/>≈ |
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* ''[[Junior Bonner]]'' (1972)<ref name="ReferenceF"/> |
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* ''[[Boxcar Bertha]]'' (1972)<ref>[http://www.tasteofcinema.com/2014/15-sleeper-films-of-the-new-hollywood-era-that-are-worth-seeing2/ 15 Sleeper Films Of The New Hollywood Era That Are Worth Seeing« Taste of Cinema]</ref> |
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* ''[[Boxcar Bertha]]'' (1972)<ref name="sleeperstwo">{{Cite web|url=https://www.tasteofcinema.com/2014/15-sleeper-films-of-the-new-hollywood-era-that-are-worth-seeing/2/|title=15 Sleeper Films Of The New Hollywood Era That Are Worth Seeing – Page 2 – Taste of Cinema|date=June 12, 2014 }}</ref><ref name="70splay30s"/><ref name="sept2022"/><ref name="filmsite.org"/> |
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* ''[[The King of Marvin Gardens]]'' (1972){{sfn|Thompson|Bordwell|2003|p=516}}<ref name=Crawford/> |
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* ''[[ |
* ''[[The King of Marvin Gardens]]'' (1972){{sfn|Thompson|Bordwell|2003|p=516}}<ref name=Crawford/><ref name="rafelsonap"/><ref name="ReferenceA"/><ref name="newhollywoodbackstage"/><ref name="lostmenfoundwomen"/><ref name="filmsite.org"/> |
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* ''[[What's Up, Doc? (1972 film)|What's Up, Doc?]]'' (1972){{sfn|Thompson|Bordwell|2003|p=516}}<ref name="otherhollywoodrenaissance"/><ref name="lostmenfoundwomen">[https://lareviewofbooks.org/article/lost-men-found-women-revisiting-the-new-hollywood/ Lost Men, Found Women: Revisiting the New Hollywood|Los Angeles Review of Books]</ref> |
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* ''[[Last Tango in Paris]]'' (1972){{sfn|Krämer|2005|p=50}} |
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* ''[[ |
* ''[[Hickey & Boggs]]'' (1972)<ref name="outsiders"/><ref name="shadowcinemaofamerican70s"/> |
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* ''[[ |
* ''[[Payday (1972 film)|Payday]]'' (1972)<ref name="ReferenceC"/><ref name="outsiders"/> |
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* ''[[Sounder (film)|Sounder]]'' (1972)<ref name="historicalfilm">{{cite book|last=Symmons|first=Tom|title=The New Hollywood Historical Film: 1967–78 |
|||
|url=https://books.google.com/books?id=T_xjDAAAQBAJ&q=cicely+tyson+%22new+hollywood%22&pg=PA61|page=61|isbn= 9781137529305|date=13 June 2016}}</ref> |
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|url=https://books.google.com/books?id=T_xjDAAAQBAJ|isbn= 9781137529305|date=June 13, 2016|publisher=Springer}}</ref>≈ |
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* ''[[American Graffiti]]'' (1973){{sfn|Krämer|2005|p=8}} |
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* ''[[ |
* ''[[The Candidate (1972 film)|The Candidate]]'' (1972)<ref name="67to80"/><ref name="otherhollywoodrenaissance"/> |
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* ''[[Heavy Traffic]]'' (1973)<ref name="keepingitreal">{{cite web |title=Keeping it Real with Ralph Bakshi (Part II) |date=October 23, 2015 |work=Star & Crescent |url=https://www.starandcrescent.org.uk/2015/10/23/keeping-it-real-with-ralph-bakshi-part-ii/ |access-date=August 21, 2018}}</ref> |
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* ''[[Dillinger (1973 film)|Dillinger]]'' (1973){{sfn|Thompson|Bordwell|2003|p=516}} |
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* ''[[American Graffiti]]'' (1973){{sfn|Krämer|2005|p=8}}<ref name="newhollywoodbackstage"/><ref name="nach1968"/><ref name="newfreedoms"/><ref name="historicalfilm"/><ref name="filmsite.org"/>≈ |
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* ''[[The Friends of Eddie Coyle]]'' (1973)<ref name="flickchart2">{{cite web|url=http://www.flickchart.com/movie/BFC3A0BB9B|title=The Friends of Eddie Coyle (1973)|website=Flickchart|access-date=July 19, 2018}}</ref><ref name="New American Cinema"/> |
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* ''[[ |
* ''[[Badlands (film)|Badlands]]'' (1973){{sfn|Thompson|Bordwell|2003|p=516}}<ref name="mubi.com"/><ref name="farout"/><ref name="outsiders"/><ref name="lewiscenter"/>≈ |
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* ''[[Dillinger (1973 film)|Dillinger]]'' (1973){{sfn|Thompson|Bordwell|2003|p=516}}<ref name="67to80"/> |
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* ''[[The Last Detail]]'' (1973)<ref>[https://variety.com/2018/film/reviews/hal-review-sundance-hal-ashby-1202680558/ 'Hal' Review: A Portrait of Hal Ashby, the fabled 70s Director — Variety]</ref> |
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* ''[[Emperor of the North]]'' (1973)<ref name="70splay30s">[https://metrograph.com/category/70s-play-the-30s/ '70s Play the '30s – Metrogrpah]</ref><ref name="sept2022">[https://metrograph.com/in-theater-september-2022/ September In Theater – Journal – Metrograph]</ref> |
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* ''[[Mean Streets]]'' (1973)<ref>[https://arts.princeton.edu/courses/new-hollywood/ The New Hollywood - Lewis Center for the Arts]</ref> |
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* ''[[Westworld (film)|Westworld]]'' (1973)<ref name="academia"/> |
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* ''[[Paper Moon (film)|Paper Moon]]'' (1973)<ref>{{cite web|title=New Hollywood: 50 Movies That Reshaped the Film Industry: Paper Moon (1973)|url=https://indiewire.com/gallery/new-hollywood-50-movies/#!40/paper-moon-1973/|last=Nordine|first=Michael|work=[[IndieWire]]|date=April 11, 2017|access-date=March 12, 2018}}</ref> |
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* ''[[The Friends of Eddie Coyle]]'' (1973)<ref name="67to80"/><ref name="otherhollywoodrenaissance"/> |
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* ''[[The Long Goodbye (film)|The Long Goodbye]]'' (1973)<ref name="Gumshoes" /><ref name="nach1968"/><ref name="newhollywoodneonoirs"/><ref name="lewiscenter"/>≈ |
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* ''[[The Last Detail]]'' (1973)<ref>{{Cite web|url=https://variety.com/2018/film/reviews/hal-review-sundance-hal-ashby-1202680558/|title=Film Review: 'Hal'|first1=Owen|last1=Gleiberman|date=January 31, 2018}}</ref><ref name="newhollywoodcriterion"/><ref name="67to80"/><ref name="best new Hollywood movies you probably haven't seen"/> |
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* ''[[Mean Streets]]'' (1973)<ref name="lewiscenter">{{Cite web|url=https://arts.princeton.edu/courses/new-hollywood/|title=The New Hollywood|website=Lewis Center for the Arts}}</ref><ref name="67to80"/><ref name="fordtocity"/><ref name="amny70s"/><ref name="lostillusions"/><ref name="outsiders"/>≈ |
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* ''[[Paper Moon (film)|Paper Moon]]'' (1973)<ref>{{cite web|title=New Hollywood: 50 Movies That Reshaped the Film Industry: Paper Moon (1973)|url=https://indiewire.com/gallery/new-hollywood-50-movies/#!40/paper-moon-1973/|last=Nordine|first=Michael|work=[[IndieWire]]|date=April 11, 2017|access-date=March 12, 2018}}</ref><ref name="70splay30s"/><ref name="sept2022"/><ref name="67to80"/> |
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* ''[[Charley Varrick]]'' (1973)<ref name="ReferenceD"/> |
* ''[[Charley Varrick]]'' (1973)<ref name="ReferenceD"/> |
||
* ''[[The Last American Hero]]'' (1973)<ref name="ReferenceD"/> |
* ''[[The Last American Hero]]'' (1973)<ref name="ReferenceD"/> |
||
* ''[[Blume in Love]]'' (1973)<ref name="segalnewhollywodyears"/> |
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* ''[[Pat Garrett and Billy the Kid]]'' (1973){{sfn|Langford|2010|p=148}} |
* ''[[Pat Garrett and Billy the Kid]]'' (1973){{sfn|Langford|2010|p=148}} |
||
* ''[[Breezy]]'' (1973)<ref name="ReferenceA"/> |
* ''[[Breezy]]'' (1973)<ref name="ReferenceA"/><ref name="sleeperstwo"/> |
||
* ''[[ |
* ''[[Serpico]]'' (1973)<ref>{{cite web|title=New Hollywood: 50 Movies That Reshaped the Film Industry: Serpico (1973)|url=https://indiewire.com/gallery/new-hollywood-50-movies/#!44/serpico-1973/|last=Nordine|first=Michael|work=[[IndieWire]]|date=April 11, 2017|access-date=March 12, 2018}}</ref><ref name="andtheblacklist"/><ref name="amny70s"/> |
||
* ''[[Sisters (1973 film)|Sisters]]'' (1973){{sfn|Thompson|Bordwell|2003|p=516}}<ref name="sleeperstwo"/><ref name="newhollywoodbackstage"/> |
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* ''[[Serpico]]'' (1973)<ref>{{cite web|title=New Hollywood: 50 Movies That Reshaped the Film Industry: Serpico (1973)|url=https://indiewire.com/gallery/new-hollywood-50-movies/#!44/serpico-1973/|last=Nordine|first=Michael|work=[[IndieWire]]|date=April 11, 2017|access-date=March 12, 2018}}</ref> |
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* ''[[ |
* ''[[Save the Tiger]]'' (1973)<ref name="67to80"/> |
||
* ''[[Sleeper (1973 film)|Sleeper]]'' (1973){{sfn|Thompson|Bordwell|2003|p=528}} |
* ''[[Sleeper (1973 film)|Sleeper]]'' (1973){{sfn|Thompson|Bordwell|2003|p=528}}<ref name="american70s"/> |
||
* ''[[The Exorcist (film)|The Exorcist]]'' (1973){{sfn|Krämer|2005|p=8}} |
* ''[[The Exorcist (film)|The Exorcist]]'' (1973){{sfn|Krämer|2005|p=8}}<ref name="american70s"/><ref name="newhollywoodhorror"/>≈ |
||
* ''[[Messiah of Evil]]'' (1973)<ref>[https://bandsaboutmovies.com/2023/09/26/radiance-blu-ray-release-messiah-of-evil-1973/ Radiance Blu Ray Release : Messiah of Evil (1973) – B&S About Movies]</ref> |
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* ''[[The Way We Were]]'' (1973)<ref name="historicalfilm"/> |
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* ''[[Scarecrow (1973 film)|Scarecrow]]'' (1973)<ref name="ReferenceB"/> |
* ''[[Scarecrow (1973 film)|Scarecrow]]'' (1973)<ref name="ReferenceB"/> |
||
* ''[[The Sting]]'' (1973){{sfn|Krämer|2005|p=8}} |
* ''[[The Sting]]'' (1973){{sfn|Krämer|2005|p=8}}<ref name="accordingtoimdb"/><ref name="70splay30s"/><ref name="sept2022"/><ref name="67to80"/>≈ |
||
* ''[[Electra Glide in Blue]]'' (1973)<ref name="ReferenceD"/> |
* ''[[Electra Glide in Blue]]'' (1973)<ref name="ReferenceD"/><ref>{{Cite web|url=https://mubi.com/notebook/posts/three-takes-2-james-william-guercios-electra-glide-in-blue|title=Three Takes #2: James William Guercio's "Electra Glide In Blue"|website=MUBI|date=March 19, 2013 }}</ref> |
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* ''[[Claudine (film)|Claudine]]'' (1974)<ref name="andtheblacklist">[https://www.culturematters.org.uk/index.php/arts/films/item/4325-the-hollywood-renaissance-and-the-blacklist The Hollywood Renaissance and The Blacklist – Culture Matters]</ref> |
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* ''[[Alice Doesn't Live Here Anymore]]'' (1974)<ref>{{cite web|url=https://www.purpleclover.com/entertainment/2863-1974-movies/item/2/|title="Alice Doesn't Live Here Anymore" - 1974: New Hollywood's Golden Year|first1=Denise|last1=Wolfe|date=28 July 2014|website=Purple Clover}}</ref> |
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* ''[[Foxy Brown (film)|Foxy Brown]]'' (1974)<ref name="shadowcinemaofamerican70s"/> |
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* ''[[Thieves Like Us (film)|Thieves Like Us]]'' (1974)<ref>{{cite web |title=Thieves Like Us (1974) |publisher=[[Flickchart]] |url=https://www.flickchart.com/movie/B778F72A8F |access-date=20 April 2020}}</ref> |
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* ''[[ |
* ''[[Daisy Miller (film)|Daisy Miller]]'' (1974)<ref name="paramountinthe70s"/> |
||
* ''[[Alice Doesn't Live Here Anymore]]'' (1974)<ref>{{cite web|url=https://www.purpleclover.com/entertainment/2863-1974-movies/item/2/|title="Alice Doesn't Live Here Anymore" – 1974: New Hollywood's Golden Year|first1=Denise|last1=Wolfe|date=July 28, 2014|website=Purple Clover}}</ref><ref name="auto5"/><ref name="67to80"/> |
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* ''[[California Split]]'' (1974){{sfn|Thompson|Bordwell|2003|p=517}}<ref>[https://nwfilm.org/directors/robert-altman/ Robert Altman|NE Film Center]</ref> |
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* ''[[Thieves Like Us (film)|Thieves Like Us]]'' (1974)<ref name="70splay30s"/><ref name="sept2022"/><ref name="lostmenfoundwomen"/> |
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* ''[[Chinatown (1974 film)|Chinatown]]'' (1974)<ref name="Cinelinx">{{cite web|title=Trends in 70's Cinema: New Hollywood|url=http://www.cinelinx.com/movie-stuff/item/8330-trends-in-70-s-cinema-new-hollywood.html|last=Perno|first=G.S.|publisher=Cinelinx|date=September 20, 2015|access-date=March 12, 2018}}</ref> |
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* ''[[Harry and Tonto]]'' (1974)<ref name="auto5"/> |
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* ''[[The Conversation]]'' (1974){{sfn|Thompson|Bordwell|2003|p=519}}<ref>[https://www.flickchart.com/movie/48E54E4D88 The Conversation (1974) - Flickchart]</ref> |
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* ''[[ |
* ''[[Bring Me the Head of Alfredo Garcia]]'' (1974)<ref name="nach1968"/> |
||
* ''[[ |
* ''[[Dark Star (film)|Dark Star]]'' (1974){{sfn|Thompson|Bordwell|2003|p=516}}<ref name="mubi.com"/><ref name="sleeperstwo"/><ref name="filmsite.org"/> |
||
* ''[[California Split]]'' (1974){{sfn|Thompson|Bordwell|2003|p=517}}<ref>{{Cite web|url=https://nwfilm.org/directors/robert-altman/|title=Robert Altman|NE Film Center|access-date=2020-04-20|archive-date=2021-10-22|archive-url=https://web.archive.org/web/20211022163150/https://nwfilm.org/directors/robert-altman/|url-status=dead}}</ref><ref name="newhollywoodcriterion"/><ref name="67to80"/><ref name="segalnewhollywodyears"/> |
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* ''[[The Parallax View]]'' (1974){{sfn|Thompson|Bordwell|2003|p=519}} |
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* ''[[Chinatown (1974 film)|Chinatown]]'' (1974)<ref name="Cinelinx">{{cite web|title=Trends in 70's Cinema: New Hollywood|url=http://www.cinelinx.com/movie-stuff/item/8330-trends-in-70-s-cinema-new-hollywood.html|last=Perno|first=G.S.|publisher=Cinelinx|date=September 20, 2015|access-date=March 12, 2018|archive-date=March 8, 2018|archive-url=https://web.archive.org/web/20180308114354/http://www.cinelinx.com/movie-stuff/item/8330-trends-in-70-s-cinema-new-hollywood.html|url-status=dead}}</ref><ref name="auto5"/><ref name="accordingtoimdb"/><ref name="farout"/><ref name="70splay30s"/><ref name="sept2022"/><ref name="american70s"/><ref name="newhollywoodneonoirs"/>≈ |
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* ''[[A Woman Under the Influence]]'' (1974)<ref name="LATimes"/><ref name="New American Cinema"/> |
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* ''[[The Yakuza]]'' (1974)<ref name="nach1968"/> |
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* ''[[The Taking of Pelham One Two Three (1974 film)|The Taking of Pelham One Two Three]]'' (1974)<ref name="flickchart19">{{cite web|url=http://www.flickchart.com/movie/352DF94316|title=The Taking of Pelham One Two Three (1974)|website=Flickchart|access-date=July 25, 2018}}</ref> |
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* ''[[The |
* ''[[The Gambler (1974 film)|The Gambler]]'' (1974)<ref name="paramountinthe70s"/> |
||
* ''[[Phantom of the Paradise]]'' (1974)<ref name="70sromcomsranked">[https://collider.com/romantic-comedies-70s-best-ranked/ 10 Best '70s Romantic Comedies, Ranked|Collider]</ref> |
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* ''[[Blazing Saddles]]'' (1974){{sfn|Thompson|Bordwell|2003|p=528}}{{sfn|Krämer|2005|p=8}} |
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* ''[[ |
* ''[[The Conversation]]'' (1974){{sfn|Thompson|Bordwell|2003|p=519}}<ref name="E54E4D88 The Conversation 1974"/><ref name="celebratedera"/><ref name="lostillusions"/><ref name="postfordist"/><ref name="lewiscenter"/>≈ |
||
* ''[[ |
* ''[[The Godfather Part II]]'' (1974){{sfn|Thompson|Bordwell|2003|p=528}}<ref name="accordingtoimdb"/><ref name="paramountinthe70s"/>≈ |
||
* ''[[The |
* ''[[The Sugarland Express]]'' (1974)<ref name="Cinelinx"/><ref name="enl.auth.gr"/><ref name="auto5"/><ref name="sleeperstwo"/><ref name="newhollywoodbackstage"/> |
||
* ''[[ |
* ''[[The Parallax View]]'' (1974){{sfn|Thompson|Bordwell|2003|p=519}}<ref name="paramountinthe70s"/><ref name="american70s"/> |
||
* ''[[A Woman Under the Influence]]'' (1974)<ref name="LATimes"/><ref name="farout"/><ref name="newhollywoodbackstage"/>≈ |
|||
* ''[[One Flew Over the Cuckoo's Nest (film)|One Flew Over the Cuckoo's Nest]]'' (1975){{sfn|Krämer|2005|p=8}} |
|||
* ''[[The Towering Inferno]]'' (1974){{sfn|Krämer|2005|p=8}}<ref name="newhollywoodthrillers"/> |
|||
* ''[[Dog Day Afternoon]]'' (1975)<ref>{{cite web|title=New Hollywood: 50 Movies That Reshaped the Film Industry: Dog Day Afternoon (1975)|url=https://indiewire.com/gallery/new-hollywood-50-movies/#!20/dog-day-afternoon-1975/|last=Nordine|first=Michael|work=[[IndieWire]]|date=April 11, 2017|access-date=March 12, 2018}}</ref> |
|||
* ''[[Blazing Saddles]]'' (1974){{sfn|Thompson|Bordwell|2003|p=528}}{{sfn|Krämer|2005|p=8}}≈ |
|||
* ''[[Three Days of the Condor]]'' (1975)<ref>{{cite web|title=Unpredictable: Three Days of the Condor, Information Theory, and The Remaking of Professional Ideology |url=http://post45.org/2018/11/unpredictable-three-days-of-the-condor-information-theory-and-the-remaking-of-professional-ideology/|last=Cheever|first=Abigail|work=Post45|date=June 11, 2018|access-date=March 11, 2020}}</ref> |
|||
* ''[[Young Frankenstein]]'' (1974){{sfn|Thompson|Bordwell|2003|p=528}}≈ |
|||
* ''[[Hearts and Minds (film)|Hearts and Minds]]'' (1974)<ref name="ReferenceB"/><ref>{{Cite web|url=https://mubi.com/notebook/posts/bert-schneider-1933-2011|title=Bert Schneider, 1933 – 2011|website=MUBI|date=December 14, 2011}}</ref><ref name="thenation.com"/>≈ |
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* ''[[The Texas Chain Saw Massacre]]'' (1974)<ref name="ReferenceB"/><ref name="newhollywoodhorror"/>≈ |
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* ''[[Caged Heat]]'' (1974)<ref name="filmsite.org"/> |
|||
* ''[[Lenny (film)|Lenny]]'' (1974)<ref name="sleeperstwo"/><ref name="otherhollywoodrenaissance"/><ref name="nach1968"/><ref name="ReferenceB"/> |
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* ''[[Death Wish (1974 film)|Death Wish]]'' (1974)<ref name="ReferenceB"/><ref name="fordtocity"/><ref name="paramountinthe70s"/> |
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* ''[[Freebie and the Bean]]'' (1974)<ref>[https://www.nathanrabin.com/happy-place/2020/5/26/sub-cult-8-freebie-and-the-bean-1974?rq=new%20hollywood Sub-Cult 2.0 # 10 Freebie and the Bean (1974) — Nathan Rabin's Happy Place]</ref> |
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* ''[[The Taking of Pelham One Two Three (1974 film)|The Taking of Pelham One Two Three]]'' (1974)<ref name="fordtocity"/> |
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* ''[[Thunderbolt and Lightfoot]]'' (1974)<ref name="otherhollywoodrenaissance"/> |
|||
* ''[[Hester Street (film)|Hester Street]]'' (1975)<ref name="whenmoviesmattered"/><ref name="newhollywoodwomen"/><ref name="otherhollywoodrenaissance"/><ref name="lostmenfoundwomen"/>≈ |
|||
* ''[[Aloha, Bobby and Rose]]'' (1975)<ref name="shadowcinemaofamerican70s">[https://quadcinema.com/program/the-shadow-cinema-of-the-american-70s/ The Shadow Cinema of the American '70s|Quad Cinema]</ref> |
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* ''[[One Flew Over the Cuckoo's Nest (film)|One Flew Over the Cuckoo's Nest]]'' (1975){{sfn|Krämer|2005|p=8}}<ref name="accordingtoimdb"/><ref name="farout"/>≈ |
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* ''[[Dog Day Afternoon]]'' (1975)<ref>{{cite web|title=New Hollywood: 50 Movies That Reshaped the Film Industry: Dog Day Afternoon (1975)|url=https://indiewire.com/gallery/new-hollywood-50-movies/#!20/dog-day-afternoon-1975/|last=Nordine|first=Michael|work=[[IndieWire]]|date=April 11, 2017|access-date=March 12, 2018}}</ref><ref name="auto5" /><ref name="therise"/><ref name="farout"/><ref name="american70s"/><ref name="fordtocity"/><ref name="amny70s"/>≈ |
|||
* ''[[Three Days of the Condor]]'' (1975)<ref>{{cite journal|title=Unpredictable: Three Days of the Condor, Information Theory, and The Remaking of Professional Ideology |url=http://post45.org/2018/11/unpredictable-three-days-of-the-condor-information-theory-and-the-remaking-of-professional-ideology/|last=Cheever|first=Abigail|journal=Post45|date=June 11, 2018|access-date=March 11, 2020}}</ref><ref name="paramountinthe70s"/><ref name="nach1968"/><ref name="fordtocity"/> |
|||
* ''[[The Eiger Sanction (film)|The Eiger Sanction]]'' (1975){{sfn|Thompson|Bordwell|2003|p=528}} |
* ''[[The Eiger Sanction (film)|The Eiger Sanction]]'' (1975){{sfn|Thompson|Bordwell|2003|p=528}} |
||
* ''[[Rafferty and the Gold Dust Twins]]'' (1975)<ref name="ReferenceF"/> |
* ''[[Rafferty and the Gold Dust Twins]]'' (1975)<ref name="ReferenceF"/> |
||
* ''[[Jaws (film)|Jaws]]'' (1975){{sfn|Thompson|Bordwell|2003|p=527}}{{sfn|Krämer|2005|p=8}} |
* ''[[Jaws (film)|Jaws]]'' (1975){{sfn|Thompson|Bordwell|2003|p=527}}{{sfn|Krämer|2005|p=8}}<ref name="auto6"/><ref name="cottonclubcollider"/><ref name="67to80"/><ref name="oldnewhollywood"/><ref name="filmsite.org"/><ref name="newhollywoodthrillers"/><ref name="newhollywoodhorror"/>≈ |
||
* ''[[Nashville (film)|Nashville]]'' (1975)<ref name=" |
* ''[[Nashville (film)|Nashville]]'' (1975)<ref name="auto5"/><ref name="newhollywoodtreatment"/><ref name="lostillusions"/>≈ |
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* ''[[Smile (1975 film)|Smile]]'' (1975){{sfn|Kirshner|2012|p=191}}<ref name="auto5"/> |
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* ''[[Night Moves (1975 film)|Night Moves]]'' (1975)<ref name="Gumshoes">{{cite web|url=https://film.avclub.com/new-hollywood-gumshoes-the-long-goodbye-the-late-show-1798224936|title=New Hollywood gumshoes: The Long Goodbye, The Late Show, Night Moves|first=Keith|last=Phipps|website=Film}}</ref> |
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* ''[[Night Moves (1975 film)|Night Moves]]'' (1975)<ref name="Gumshoes">{{cite web|url=https://www.avclub.com/new-hollywood-gumshoes-the-long-goodbye-the-late-show-1798224936|title=New Hollywood gumshoes: The Long Goodbye, The Late Show, Night Moves|first=Keith|last=Phipps|website=Film|date=March 15, 2011|access-date=September 25, 2018|archive-date=March 3, 2021|archive-url=https://web.archive.org/web/20210303225812/https://film.avclub.com/new-hollywood-gumshoes-the-long-goodbye-the-late-show-1798224936|url-status=live}}</ref><ref name="mubi.com"/><ref name="july2024" /><ref name="newhollywoodneonoirs"/> |
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* ''[[Shampoo (film)|Shampoo]]'' (1975){{sfn|Harris|2008|p=419}}<ref name="New American Cinema"/> |
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* ''[[Shampoo (film)|Shampoo]]'' (1975){{sfn|Harris|2008|p=419}}<ref name="newhollywoodspirit"/><ref name="67to80"/> |
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* ''[[The Day of the Locust (film)|The Day of the Locust]]'' (1975)<ref name="springer">{{cite book|title=The 'New Wave' and 'Old Hollywood': The Day of the Locust (1975), 'Movies About the Movies' and the Generational Divide|pages=21–56|doi=10.1057/978-1-137-52930-5_2|year = 2016|last1 = Symmons|first1 = Tom|isbn=978-1-137-52929-9}}</ref> |
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* ''[[Hard Times (1975 film)|Hard Times]]'' (1975)<ref name="70splay30s"/><ref name="sept2022"/><ref name="shadowcinemaofamerican70s"/> |
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* ''[[Barry Lyndon]]'' (1975){{sfn|Thompson|Bordwell|2003|p=617}} |
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* ''[[The Day of the Locust (film)|The Day of the Locust]]'' (1975)<ref name="springer">{{cite book|title=The 'New Wave' and 'Old Hollywood': The Day of the Locust (1975), 'Movies About the Movies' and the Generational Divide|pages=21–56|doi=10.1057/978-1-137-52930-5_2|year = 2016|last1 = Symmons|first1 = Tom|isbn=978-1-137-52929-9}}</ref><ref name="sleeperstwo"/><ref name="nach1968"/><ref name="historicalfilm"/> |
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* ''[[Barry Lyndon]]'' (1975){{sfn|Thompson|Bordwell|2003|p=617}}<ref name="mubi.com"/><ref name="lostillusions"/> |
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* ''[[The Wind and the Lion]]'' (1975){{sfn|Thompson|Bordwell|2003|p=516}} |
* ''[[The Wind and the Lion]]'' (1975){{sfn|Thompson|Bordwell|2003|p=516}} |
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* ''[[At Long Last Love]]'' (1975)<ref name="tuneless">{{Cite web |url=https://www.thelmagazine.com/2011/06/on-the-tuneless-cole-porter-musical-at-long-last-love-peter-bogdanovichs-great-debacle-screening-this-weekend/ |title=On the Tuneless Cole Porter Musical At Long Last Love, Peter Bogdanovich's "Great Debacle," Screening This Weekend – The L Magazine |access-date=2022-11-08 |archive-date=2022-11-08 |archive-url=https://web.archive.org/web/20221108152317/https://www.thelmagazine.com/2011/06/on-the-tuneless-cole-porter-musical-at-long-last-love-peter-bogdanovichs-great-debacle-screening-this-weekend/ |url-status=dead }}</ref><ref name="june1977">[https://thefilmstage.com/june-1977-when-new-hollywood-got-weird/ June 1977: When New Hollywood Got Weird – The Film Stage]</ref> |
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* ''[[The Killing of a Chinese Bookie]]'' (1976)<ref name="New American Cinema"/> |
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* ''[[Leadbelly (film)|Leadbelly]]'' (1976)<ref name="paramountinthe70s"/> |
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* ''[[Mikey and Nicky]]'' (1976)<ref>{{cite web |title=Mikey and Nicky (1976) |publisher=[[Flickchart]] |url=https://www.flickchart.com/movie/F900FEC91D |access-date=20 April 2020}}</ref> |
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* ''[[Harlan County, USA]]'' (1976)<ref name="newhollywoodwomen"/>≈ |
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* ''[[All the President's Men (film)|All the President's Men]]'' (1976)<ref>{{cite web|title=New Hollywood: 50 Movies That Reshaped the Film Industry: All the President's Men (1976)|url=https://indiewire.com/gallery/new-hollywood-50-movies/#!3/all-the-presidents-men-1976/|last=Nordine|first=Michael|work=[[IndieWire]]|date=April 11, 2017|access-date=March 12, 2018}}</ref> |
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* ''[[ |
* ''[[Not a Pretty Picture]]'' (1976)<ref name="newhollywoodwomen"/> |
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* ''[[ |
* ''[[The Killing of a Chinese Bookie]]'' (1976)<ref name="mubi.com"/> |
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* ''[[Mikey and Nicky]]'' (1976)<ref name="newhollywoodcriterion"/><ref name="newhollywoodwomen"/><ref name="outsiders"/> |
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* ''[[Obsession (1976 film)|Obsession]]'' (1976){{sfn|Thompson|Bordwell|2003|p=527}} |
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* ''[[ |
* ''[[All the President's Men (film)|All the President's Men]]'' (1976)<ref>{{cite web|title=New Hollywood: 50 Movies That Reshaped the Film Industry: All the President's Men (1976)|url=https://indiewire.com/gallery/new-hollywood-50-movies/#!3/all-the-presidents-men-1976/|last=Nordine|first=Michael|work=[[IndieWire]]|date=April 11, 2017|access-date=March 12, 2018}}</ref><ref name="auto5"/><ref name="farout"/><ref name="filmsite.org"/>≈ |
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* ''[[Welcome to L.A.]]'' (1976)<ref name="otherhollywoodrenaissance"/> |
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* ''[[The Outlaw Josey Wales]]'' (1976){{sfn|Thompson|Bordwell|2003|p=528}} |
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* ''[[Next Stop, Greenwich Village]]'' (1976)<ref name="ReferenceE"/><ref name="auto5"/> |
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* ''[[Network (1976 film)|Network]]'' (1976)<ref>[https://www.indiewire.com/gallery/new-hollywood-50-movies/network-1976/ New Hollywood: 50 Movies That Reshaped the Film Industry|IndieWire]</ref> |
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* ''[[Carrie (1976 film)|Carrie]]'' (1976){{sfn|Thompson|Bordwell|2003|p=528}}<ref name="thefall"/><ref name="mubi.com"/><ref name="newfreedoms"/><ref name="newhollywoodthrillers"/><ref name="newhollywoodhorror"/>≈ |
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* ''[[Rocky]]'' (1976){{sfn|Krämer|2005|p=8}} |
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* ''[[Obsession (1976 film)|Obsession]]'' (1976){{sfn|Thompson|Bordwell|2003|p=527}}<ref name="july2024">[https://www.criterion.com/current/posts/8503-the-criterion-channel-s-july-2024-lineup The Criterion Channel's July 2024 Lineup|Current|The Criterion Collection]</ref><ref name="newhollywoodcriterion"/><ref name="newhollywoodbackstage"/> |
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* ''[[Taxi Driver]]'' (1976)<ref name="Cinelinx"/> |
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* ''[[ |
* ''[[The Omen (1976 film)|The Omen]]'' (1976)<ref>{{cite web|title=Summer of Blood: New Hollywood Horror – Little devil|url=https://www.alternateending.com/2015/07/summer-of-blood-new-hollywood-horror-little-devil.html|last=Brayton|first=Tim|work=Alternative Ending|date=June 11, 2015|access-date=March 12, 2018}}</ref><ref name="newhollywoodthrillers"/><ref name="oldschoolhitmaker"/> |
||
* ''[[ |
* ''[[The Outlaw Josey Wales]]'' (1976){{sfn|Thompson|Bordwell|2003|p=528}}≈ |
||
* ''[[God Told Me To]]'' (1976)<ref name="filmmuseum.at">{{Cite web|url=https://www.filmmuseum.at/jart/prj3/filmmuseum/main.jart?rel=en&reserve-mode=active&content-id=1219068743272&schienen_id=200018|title=Filmmuseum – Program SD|website=www.filmmuseum.at}}</ref> |
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* ''[[Eraserhead]]'' (1977){{sfn|Thompson|Bordwell|2003|p=516}} |
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* ''[[Assault on Precinct 13 (1976 film)|Assault on Precinct 13]]'' (1976)<ref name="filmmuseum.at"/><ref name="newhollywoodbackstage"/><ref name="filmsite.org"/> |
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* ''[[Network (1976 film)|Network]]'' (1976)<ref>{{Cite web|url=https://www.indiewire.com/gallery/new-hollywood-50-movies/|title=New Hollywood: 50 Movies That Reshaped the Film Industry|first1=Michael|last1=Nordine|date=April 11, 2017}}</ref><ref name ="auto5"/><ref name="amny70s"/><ref name="fordtocity"/>≈ |
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* ''[[Marathon Man (film)|Marathon Man]]'' (1976)<ref name="fordtocity"/><ref name="paramountinthe70s"/> |
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* ''[[Rocky]]'' (1976){{sfn|Krämer|2005|p=8}}<ref name="67to80"/><ref name="filmsite.org"/>≈ |
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* ''[[Taxi Driver]]'' (1976)<ref name="Cinelinx"/><ref name="auto5" /><ref name="accordingtoimdb"/><ref name="accordingtotarantino"/><ref name="lostillusions"/><ref name="newhollywoodneonoirs"/>≈ |
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* ''[[Buffalo Bill and the Indians]]'' (1976)<ref>[https://www.filmmuseum.at/en/film_program/scope?schienen_id=1324565075166 Robert Altman Sixteen Films. 1970–2006 – Filmmuseum – Program SD]</ref><ref>[https://midcenturycinema.org/2020/07/08/news-and-commentary-robert-altman-the-new-hollywood-years/ News and Commentary – Robert Altman: The New Hollywood Years – MidCenturyCinema]</ref><ref name="67to80"/> |
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* ''[[Bound for Glory (1976 film)|Bound for Glory]]'' (1976)<ref name="70splay30s"/><ref name="sept2022"/><ref name="67to80"/><ref name="filmsite.org"/> |
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* ''[[Futureworld]]'' (1976)<ref name="academia"/> |
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* ''[[The Last Tycoon (1976 film)|The Last Tycoon]]'' (1976)<ref name="70splay30s"/><ref name="sept2022"/> |
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* ''[[Opening Night (1977 film)|Opening Night]]'' (1977)<ref name="otherhollywoodrenaissance"/> |
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* ''[[Annie Hall]]'' (1977)<ref>{{cite web|title=New Hollywood: 50 Movies That Reshaped the Film Industry: Annie Hall (1977)|url=https://indiewire.com/gallery/new-hollywood-50-movies/#!5/annie-hall-1977/|last=Nordine|first=Michael|work=[[IndieWire]]|date=April 11, 2017|access-date=March 12, 2018}}</ref><ref name="auto5" /><ref name="farout"/>≈ |
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* ''[[Close Encounters of the Third Kind]]'' (1977){{sfn|Thompson|Bordwell|2003|p=528}}<ref name="oldnewhollywood"/><ref name="filmsite.org"/>≈ |
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* ''[[Eraserhead]]'' (1977){{sfn|Thompson|Bordwell|2003|p=516}}<ref name="farout"/>≈ |
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* ''[[The Hills Have Eyes (1977)|The Hills Have Eyes]]'' (1977)<ref>{{cite book|last=Shail|first=Robert|date=July 25, 2019 |title=Seventies British Cinema |location=United Kingdom |publisher=[[Bloomsbury Publishing]] |page=33 |isbn=9781838718060}}</ref> |
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* ''[[The Gauntlet (film)|The Gauntlet]]'' (1977){{sfn|Thompson|Bordwell|2003|p=528}} |
* ''[[The Gauntlet (film)|The Gauntlet]]'' (1977){{sfn|Thompson|Bordwell|2003|p=528}} |
||
* ''[[High Anxiety]]'' (1977){{sfn|Thompson|Bordwell|2003|p=528}} |
* ''[[High Anxiety]]'' (1977){{sfn|Thompson|Bordwell|2003|p=528}} |
||
* '' [[The Late Show (film)|The Late Show]]'' (1977)<ref |
* '' [[The Late Show (film)|The Late Show]]'' (1977)<ref name="Gumshoes" /><ref name="nach1968"/> |
||
* ''[[Handle with Care (1977 film)|Handle with Care]]'' (1977)<ref name="ReferenceE"/> |
* ''[[Handle with Care (1977 film)|Handle with Care]]'' (1977)<ref name="ReferenceE"/><ref name="paramountinthe70s"/><ref name="shadowcinemaofamerican70s"/> |
||
* ''[[Looking for Mr. Goodbar (film)|Looking for Mr. Goodbar]]'' (1977)<ref>{{cite web|title=New Hollywood: 50 Movies That Reshaped the Film Industry: Looking for Mr. Goodbar (1977)|url=https://indiewire.com/gallery/new-hollywood-50-movies/#!33/looking-for-mr-goodbar-1977/|last=Nordine|first=Michael|work=[[IndieWire]]|date=April 11, 2017|access-date=March 12, 2018}}</ref> |
* ''[[Looking for Mr. Goodbar (film)|Looking for Mr. Goodbar]]'' (1977)<ref>{{cite web|title=New Hollywood: 50 Movies That Reshaped the Film Industry: Looking for Mr. Goodbar (1977)|url=https://indiewire.com/gallery/new-hollywood-50-movies/#!33/looking-for-mr-goodbar-1977/|last=Nordine|first=Michael|work=[[IndieWire]]|date=April 11, 2017|access-date=March 12, 2018}}</ref> |
||
* ''[[New York, New York (1977 film)|New York, New York]]'' (1977)<ref |
* ''[[New York, New York (1977 film)|New York, New York]]'' (1977)<ref name="thefall">[https://www.youtube.com/watch?v=QSTUCkXjAzc A Brief History Of New Hollywood | The Fall – Little White Lies on YouTube]</ref><ref name="tuneless"/><ref name="june1977"/><ref name="67to80"/> |
||
* ''[[Saturday Night Fever]]'' (1977){{sfn|Thompson|Bordwell|2003|p=527}}<ref name="fordtocity"/><ref name="paramountinthe70s"/><ref name="newhollywoodthrillers"/>≈ |
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* ''[[Opening Night (1977 film)|Opening Night]]'' (1977)<ref>{{cite web |title=Opening Night (1977) |publisher=[[Flickchart]] |url=https://www.flickchart.com/movie/DA9B6FC262 |access-date=20 April 2020}}</ref> |
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* ''[[Sorcerer (film)|Sorcerer]]'' (1977)<ref>{{cite web|title=Sorcerer (1977)|url=https://indiewire.com/gallery/new-hollywood-50-movies/#!45/sorcerer-1977/|last=Nordine|first=Michael|work=[[IndieWire]]|date=April 11, 2017|access-date=March 12, 2018}}</ref><ref name="auto5"/><ref name="cottonclubcollider"/><ref name="june1977"/> |
|||
* ''[[Saturday Night Fever]]'' (1977){{sfn|Thompson|Bordwell|2003|p=527}} |
|||
* ''[[Star Wars (film)|Star Wars]]'' (1977){{sfn|Thompson|Bordwell|2003|p=528}}<ref name="thefall"/><ref name="67to80"/><ref name=Crawford/><ref name="Bernardoni"/><ref name="filmsite.org"/>≈ |
|||
* ''[[Sorcerer (film)|Sorcerer]]'' (1977)<ref>{{cite web|title=Sorcerer (1977)|url=https://indiewire.com/gallery/new-hollywood-50-movies/#!45/sorcerer-1977/|last=Nordine|first=Michael|work=[[IndieWire]]|date=April 11, 2017|access-date=March 12, 2018}}</ref> |
|||
* ''[[ |
* ''[[3 Women]]'' (1977){{sfn|Thompson|Bordwell|2003|p=519}}<ref name="mubi.com"/><ref name="otherhollywoodrenaissance"/><ref name="lostillusions"/> |
||
* ''[[ |
* ''[[Girlfriends (1978 film)|Girlfriends]]'' (1978)<ref name="whenmoviesmattered"/><ref name="newhollywoodwomen"/>≈ |
||
* ''[[ |
* ''[[The Wiz (film)|The Wiz]]'' (1978)<ref name="amny70s"/><ref name="fordtocity"/> |
||
* ''[[American Hot Wax]]'' (1978)<ref name="shadowcinemaofamerican70s"/> |
|||
* ''[[Coming Home (1978 film)|Coming Home]]'' (1978)<ref>{{cite web |title=Coming Home (1978) |publisher=[[Flickchart]] |url=https://www.flickchart.com/movie/F3562BCCA9 |access-date=20 April 2020}}</ref> |
|||
* ''[[ |
* ''[[An Unmarried Woman]]'' (1978)<ref name="auto5"/><ref name="fordtocity"/> |
||
* ''[[Eyes of Laura Mars]]'' (1978)<ref name="fordtocity">[https://filmforum.org/series/new-york-in-the-70s-series Film Fourm · "Ford to City: Drop Dead" – New York in the 70s]</ref><ref name="shadowcinemaofamerican70s"/> |
|||
* ''[[Grease (film)|Grease]]'' (1978){{sfn|Thompson|Bordwell|2003|p=527}} |
|||
* ''[[ |
* ''[[Blue Collar (film)|Blue Collar]]'' (1978){{sfn|Thompson|Bordwell|2003|p=516}}<ref name="auto5"/><ref name="67to80"/><ref name="otherhollywoodrenaissance"/> |
||
* ''[[Straight Time]]'' (1978)<ref name="ReferenceA"/><ref name="sleeperstwo"/><ref name="67to80"/> |
|||
* ''[[The Deer Hunter]]'' (1978){{sfn|Thompson|Bordwell|2003|p=516}} |
|||
* ''[[Superman (1978 film)|Superman]]'' (1978)<ref name="oldschoolhitmaker"/>≈ |
|||
* ''[[F.I.S.T.]]'' (1978)<ref>{{cite web|url=http://www.flickchart.com/movie/10342606B6|title=F.I.S.T|via=www.flickchart.com}}</ref> |
|||
* ''[[ |
* ''[[Grease (film)|Grease]]'' (1978){{sfn|Thompson|Bordwell|2003|p=527}}<ref name="historicalfilm"/><ref name="newhollywoodthrillers"/>≈ |
||
* ''[[Days of Heaven]]'' (1978){{sfn|Thompson|Bordwell|2003|p=516}}<ref name="filmmuseum.at"/><ref name="american70s"/><ref name="newfreedoms"/><ref name="lostillusions"/>≈ |
|||
* ''[[Big Wednesday]]'' (1978)<ref>{{cite web |title=Big Wednesday (1978) |publisher=[[Flickchart]] |url=https://www.flickchart.com/movie/23351CBA91 |access-date=20 April 2020}}</ref> |
|||
* ''[[Heaven Can Wait (1978 film)|Heaven Can Wait]]'' (1978)<ref name="paramountinthe70s"/> |
|||
* ''[[The Deer Hunter]]'' (1978){{sfn|Thompson|Bordwell|2003|p=516}}<ref name="therise"/><ref name="mubi.com"/><ref name="lostillusions"/>≈ |
|||
* ''[[Coming Home (1978 film)|Coming Home]]'' (1978)<ref name="67to80"/><ref name="otherhollywoodrenaissance"/><ref name="nach1968"/> |
|||
* ''[[Interiors]]'' (1978){{sfn|Thompson|Bordwell|2003|p=519}}<ref name="fordtocity"/> |
|||
* ''[[Fingers (1978 film)|Fingers]]'' (1978)<ref name="jstor.org"/> |
* ''[[Fingers (1978 film)|Fingers]]'' (1978)<ref name="jstor.org"/> |
||
* ''[[Invasion of the Body Snatchers (1978 film)|Invasion of the Body Snatchers]]'' (1978)<ref |
* ''[[Invasion of the Body Snatchers (1978 film)|Invasion of the Body Snatchers]]'' (1978)<ref name="mubi.com"/> |
||
* ''[[National Lampoon's Animal House]]'' (1978){{sfn|Thompson|Bordwell|2003|p=527}} |
* ''[[National Lampoon's Animal House]]'' (1978){{sfn|Thompson|Bordwell|2003|p=527}}<ref name="nach1968"/>≈ |
||
* ''[[ |
* ''[[Coma (1978 film)|Coma]]'' (1978)<ref name="academia"/> |
||
* ''[[Who'll Stop the Rain]]'' (1978)<ref name="filmmuseum.at"/><ref name="nach1968"/> |
|||
* ''[[Alien (film)|Alien]]'' (1979){{sfn|Thompson|Bordwell|2003|p=530}} |
|||
* ''[[Convoy (1978 film)|Convoy]]'' (1978)<ref name="nach1968"/> |
|||
* ''[[All That Jazz (film)|All That Jazz]]'' (1979)<ref>{{cite web|title=All That Jazz (1979)|url=https://indiewire.com/gallery/new-hollywood-50-movies/#!2/all-that-jazz-1979/|last=Nordine|first=Michael|work=[[IndieWire]]|date=April 11, 2017|access-date=March 12, 2018}}</ref> |
|||
* ''[[The Driver]]'' (1978)<ref>[https://thegeekshow.co.uk/the-driver-1978-blu-ray-review/ The Driver (1978) 4K Blu-Ray Review]</ref> |
|||
* '' [[...And Justice for All (film)|...And Justice for All]]'' (1979)<ref>{{cite web|url=http://www.flickchart.com/movie/501EB57F39|title=...and justice for all.|via=www.flickchart.com}}</ref> |
|||
* ''[[ |
* ''[[Dawn of the Dead (1978 film)|Dawn of the Dead]]'' (1978)<ref name="filmmuseum.at"/> |
||
* ''[[Halloween (1978 film)|Halloween]]'' (1978){{sfn|Thompson|Bordwell|2003|p=528}}<ref name="newhollywoodbackstage"/><ref name="mubi.com"/><ref name="newhollywoodhorror"/>≈ |
|||
* ''[[Being There]]'' (1979)<ref>{{cite web |title=Being There (1979) |publisher=[[Flickchart]] |url=https://www.flickchart.com/movie/85AC60FA31 |access-date=20 April 2020}}</ref><ref name="New American Cinema"/> |
|||
* ''[[Chilly Scenes of Winter (film)|Chilly Scenes of Winter]]'' (1979)<ref name="newhollywoodwomen"/><ref name="otherhollywoodrenaissance"/> |
|||
* ''[[Kramer vs. Kramer]]'' (1979)<ref name="Kramer vs. Kramer (1979)">{{cite web|url=http://www.flickchart.com/movie/A944FC9E39|title=Kramer vs. Kramer(1979)|website=Flickchart|access-date=November 23, 2018}}</ref> |
|||
* ''[[Alien (film)|Alien]]'' (1979){{sfn|Thompson|Bordwell|2003|p=530}}<ref name="accordingtoimdb"/><ref name="newhollywoodhorror"/>≈ |
|||
* ''[[Manhattan (film)|Manhattan]]'' (1979)<ref name="Manhattan">{{cite web|url=http://www.flickchart.com/movie/B0606E03A1|title=Manhattan (1979)|website=Flickchart|access-date=November 23, 2018}}</ref> |
|||
* ''[[ |
* ''[[All That Jazz (film)|All That Jazz]]'' (1979)<ref>{{cite web|title=All That Jazz (1979)|url=https://indiewire.com/gallery/new-hollywood-50-movies/#!2/all-that-jazz-1979/|last=Nordine|first=Michael|work=[[IndieWire]]|date=April 11, 2017|access-date=March 12, 2018}}</ref><ref name="otherhollywoodrenaissance"/><ref name="newfreedoms"/>≈ |
||
* ''[[Hardcore (1979 film)|Hardcore]]'' (1979)<ref name="mubi.com"/><ref name="accordingtotarantino"/><ref name="67to80"/> |
|||
* ''[[Melvin and Howard]]'' (1980){{sfn|Thompson|Bordwell|2003|p=516}} |
|||
* ''[[Apocalypse Now]]'' (1979)<ref name="Cinelinx"/><ref name="auto5"/><ref name="accordingtoimdb"/><ref name="cottonclubcollider"/><ref name="farout"/><ref name="lostillusions"/>≈ |
|||
* ''[[The Shining (film)|The Shining]]'' (1980){{sfn|Thompson|Bordwell|2003|p=528}} |
|||
* ''[[Being There]]'' (1979)<ref name="67to80"/><ref name="otherhollywoodrenaissance"/>≈ |
|||
* ''[[Real Life (1979 film)|Real Life]]'' (1979)<ref name="paramountinthe70s"/> |
|||
* ''[[The China Syndrome]]'' (1979)<ref name="otherhollywoodrenaissance">[https://www.google.com/books/edition/Other_Hollywood_Renaissance/MHcxEAAAQBAJ?hl=en&gbpv=0 Other Hollywood Renaissance – Google Books]</ref><ref name="nach1968"/> |
|||
* ''[[Norma Rae]]'' (1979)<ref name="otherhollywoodrenaissance"/><ref name="nach1968"/>≈ |
|||
* ''[[Kramer vs. Kramer]]'' (1979)<ref name="mubi.com"/><ref name="67to80"/><ref name="otherhollywoodrenaissance"/> |
|||
* ''[[Manhattan (1979 film)|Manhattan]]'' (1979)<ref name="auto5"/><ref name="fordtocity"/><ref name="newfreedoms"/>≈ |
|||
* ''[[Wise Blood (film)|Wise Blood]]'' (1979)<ref name="auto5"/> |
|||
* ''[[The Warriors (film)|The Warriors]]'' (1979)<ref name="nach1968"/><ref name="amny70s">[https://www.amny.com/entertainment/film-forum-resurrects-a-gritty-city-with-new-york-in-the-70s-1.13782216/ Film Fourm resurrects a gritty city with 'New York in the '70s'|amNewYork]</ref> |
|||
* ''[[Over the Edge (film)|Over the Edge]]'' (1979)<ref name="outsiders">[https://bampfa.org/program/outsiders-new-hollywood-cinema-seventies The Outsiders: New Hollywood Cinema in the Seventies|BAMPFA]</ref> |
|||
* ''[[1941 (film)|1941]]'' (1979)<ref>[https://criterioncast.com/column/for-criterion-consideration/for-criterion-consideration-steven-spielbergs-1941 For Criterion Consideration: Steven Spielberg's 1941 – CriterionCast]</ref><ref name="nach1968"/> |
|||
* ''[[Gloria (1980 film)|Gloria]]'' (1980)<ref name="nach1968">[https://www.google.com/books/edition/New_Hollywood_Der_Amerikanische_Film_Nac/SRia-uAcQzMC?hl=en&gbpv=1 New Hollywood – Der Amerikanische Film Nach 1968 (The American Film After 1968) – Google Books]</ref><ref name="fordtocity"/> |
|||
* ''[[Melvin and Howard]]'' (1980){{sfn|Thompson|Bordwell|2003|p=516}}<ref name="auto5"/> |
|||
* ''[[The Shining (film)|The Shining]]'' (1980){{sfn|Thompson|Bordwell|2003|p=528}}<ref name="mubi.com"/><ref name="accordingtoimdb"/><ref name="newhollywoodhorror"/>≈ |
|||
* ''[[Popeye (1980 film)|Popeye]]'' (1980)<ref>[https://books.google.com/books?id=_3aGAAAAIAAJ&dq=Popeye+new+hollywood+1980&pg=PA139 Robert Altman's McCabe & Mrs. Miller: Reframing the American West – Google Books (pg.139)]</ref><ref name="cottonclubcollider"/> |
|||
* ''[[Bronco Billy]]'' (1980){{sfn|Thompson|Bordwell|2003|p=528}} |
* ''[[Bronco Billy]]'' (1980){{sfn|Thompson|Bordwell|2003|p=528}} |
||
* ''[[Raging Bull]]'' (1980)<ref |
* ''[[Raging Bull]]'' (1980)<ref name="auto5"/><ref name="67to80"/>≈ |
||
* ''[[The Empire Strikes Back]]'' (1980)<ref name="auto4">{{cite book |last1=Jameson |first1=A.D |title=I Find Your Lack of Faith Disturbing: Star Wars and the Triumph of Geek Culture |date=May 8, 2018 |publisher=Farrar, Straus and Giroux |isbn=978-0374537364 }}</ref><ref name="accordingtoimdb">[https://screenrant.com/american-new-wave-best-films-imdb/ 10 Best Films Of The American New Wave, According To IMDb - Screen Rant]</ref>≈ |
|||
* ''[[Cruising (film)|Cruising]]'' (1980)<ref>{{cite web|title=Cruising (1980)|url=https://indiewire.com/gallery/new-hollywood-50-movies/#!16/cruising-1980/|last=Nordine|first=Michael|work=[[IndieWire]]|date=April 11, 2017|access-date=March 12, 2018}}</ref> |
|||
* ''[[American Gigolo]]'' (1980)<ref name="mubi.com"/><ref name="otherhollywoodrenaissance"/> |
|||
* ''[[Dressed to Kill (1980 film)|Dressed to Kill]]'' (1980){{sfn|Thompson|Bordwell|2003|p=527}} |
|||
* ''[[Cruising (film)|Cruising]]'' (1980)<ref>{{cite web|title=Cruising (1980)|url=https://indiewire.com/gallery/new-hollywood-50-movies/#!16/cruising-1980/|last=Nordine|first=Michael|work=[[IndieWire]]|date=April 11, 2017|access-date=March 12, 2018}}</ref><ref name="67to80"/><ref name="otherhollywoodrenaissance"/><ref name="fordtocity"/> |
|||
* ''[[Airplane!]]'' (1980){{sfn|Thompson|Bordwell|2003|p=528}} |
|||
* ''[[ |
* ''[[Dressed to Kill (1980 film)|Dressed to Kill]]'' (1980){{sfn|Thompson|Bordwell|2003|p=527}}<ref name="nach1968"/><ref name="fordtocity"/> |
||
* ''[[Brubaker]]'' (1980)<ref name="nach1968"/> |
|||
* ''[[Heaven's Gate (film)|Heaven's Gate]]'' (1980)<ref>{{cite web|title=Heaven's Gate (1980)|url=https://indiewire.com/gallery/new-hollywood-50-movies/#!28/heavens-gate-1981/|last=Nordine|first=Michael|work=[[IndieWire]]|date=April 11, 2017|access-date=March 12, 2018}}</ref> |
|||
* ''[[Urban Cowboy]]'' (1980)<ref name="nach1968"/> |
|||
* ''[[Airplane!]]'' (1980){{sfn|Thompson|Bordwell|2003|p=528}}≈ |
|||
* ''[[Stardust Memories]]'' (1980){{sfn|Thompson|Bordwell|2003|p=521}}<ref name="auto5"/><ref name="67to80"/> |
|||
* ''[[Heaven's Gate (film)|Heaven's Gate]]'' (1980)<ref>{{cite web|title=Heaven's Gate (1980)|url=https://indiewire.com/gallery/new-hollywood-50-movies/#!28/heavens-gate-1981/|last=Nordine|first=Michael|work=[[IndieWire]]|date=April 11, 2017|access-date=March 12, 2018}}</ref><ref>{{Cite web|url=https://www.theringer.com/movies/2021/7/19/22582814/heavens-gate-1970s-hollywood-auteur-directors|title=How 'Heaven's Gate' Killed 1970s Hollywood|first=Adam|last=Nayman|date=July 19, 2021|website=The Ringer}}</ref><ref>[https://www.criterion.com/current/posts/7759-april-books April Books | Current | The Criterion Collection]</ref><ref name="cottonclubcollider"/><ref name="farout"/><ref name="onemoviekilledthe80s"/> |
|||
* ''[[History of the World, Part I]]'' (1981){{sfn|Thompson|Bordwell|2003|p=528}} |
* ''[[History of the World, Part I]]'' (1981){{sfn|Thompson|Bordwell|2003|p=528}} |
||
* ''[[Blow Out]]'' (1981)<ref name="auto5"/><ref name="nach1968"/><ref name="newhollywoodthrillers"/><ref name="newhollywoodneonoirs"/> |
|||
* ''[[Blow Out]]'' (1981)<ref>{{cite web|title=Blow Out (1981)|url=http://www.flickchart.com/movie/3E41B2188F|work=[[Flickchart]]}}</ref> |
|||
* ''[[Raiders of the Lost Ark]]'' (1981){{sfn|Thompson|Bordwell|2003|p=524}} |
* ''[[Raiders of the Lost Ark]]'' (1981){{sfn|Thompson|Bordwell|2003|p=524}}<ref name="auto6"/><ref name="accordingtoimdb"/><ref name="newfreedoms"/>≈ |
||
* ''[[ |
* ''[[Cutter's Way]]'' (1981)<ref name="auto5"/><ref name="nach1968"/> |
||
* ''[[Escape from New York]]'' (1981)<ref name="fordtocity"/> |
|||
* ''[[Blade Runner]]'' (1982){{sfn|Thompson|Bordwell|2003|p=621}} |
|||
* ''[[ |
* ''[[Reds (film)|Reds]]'' (1981){{sfn|Harris|2008|p=419}}<ref name="auto5"/> |
||
* ''[[They All Laughed]]'' (1981)<ref name="auto5" /> |
|||
* ''[[One from the Heart]]'' (1982)<ref>{{cite web|title=The Filmmaker's Handbook: What was the New Hollywood movement|url=http://screenprism.com/insights/article/the-filmmakers-handbook-what-is-the-new-hollywood-movement|last=Saporito|first=Jeff|publisher=Screen Prism|date=July 14, 2016|access-date=March 12, 2018}}</ref><ref>{{cite web|url=https://directorsseries.net/2017/05/08/francis-ford-coppolas-one-from-the-heart-1982/|title=Francis Ford Coppola's "One From The Heart" (1982)|last=directorsseries|date=8 May 2017}}</ref> |
|||
* ''[[Thief (1981 film)|Thief]]'' (1981)<ref name="newhollywoodneonoirs">[https://collider.com/neo-noir-movies-new-hollywood-ranked/ 10 Best New Hollywood Neo-Noirs, Ranked|Collider]</ref> |
|||
* ''[[The King of Comedy (film)|The King of Comedy]]'' (1982)<ref>{{cite web|url=http://www.flickchart.com/movie/34EE79D7FE|title=The King of Comedy|via=www.flickchart.com}}</ref> |
|||
* ''[[The Postman Always Rings Twice (1981 film)|The Postman Always Rings Twice]]'' (1981)<ref name="filmsite.org"/> |
|||
* ''[[Twilight Zone: The Movie]]'' (1983)<ref>[https://gulfnews.com/entertainment/hollywood/deadliest-horror-movies-ever-made-films-surrounded-by-real-life-death-1.74669152 Deadliest horror movies ever made: Films surrounded by real-life death|Hollywood — Gulf News]</ref> |
|||
* ''[[The Thing (1982 film)|The Thing]]'' (1982)<ref name="newhollywoodhorror">[https://collider.com/best-horror-movies-new-hollywood-ranked/ 10 Best New Hollywood Horror Movies, Ranked|Collider]</ref> |
|||
* ''[[Blade Runner]]'' (1982){{sfn|Thompson|Bordwell|2003|p=621}}<ref name="mubi.com"/>≈ |
|||
* ''[[Cat People (1982 film)|Cat People]]'' (1982)<ref name="otherhollywoodrenaissance"/> |
|||
* ''[[E.T. the Extra-Terrestrial]]'' (1982){{sfn|Thompson|Bordwell|2003|p=524}}<ref name="oldnewhollywood">[https://grantland.com/hollywood-prospectus/steven-spielberg-movie-brats-bridge-of-spies/ Twilight of the Movie Brats: Steven Spielberg and the Old 'New' Hollywood – Grantland]</ref>≈ |
|||
* ''[[First Blood]]'' (1982)<ref name="newhollywoodthrillers"/> |
|||
* ''[[One from the Heart]]'' (1982)<ref>{{cite web|title=The Filmmaker's Handbook: What was the New Hollywood movement|url=http://screenprism.com/insights/article/the-filmmakers-handbook-what-is-the-new-hollywood-movement|last=Saporito|first=Jeff|publisher=Screen Prism|date=July 14, 2016|access-date=March 12, 2018}}</ref><ref>{{cite web|url=https://directorsseries.net/2017/05/08/francis-ford-coppolas-one-from-the-heart-1982/|title=Francis Ford Coppola's "One From The Heart" (1982)|last=directorsseries|date=May 8, 2017}}</ref><ref name="auto5"/><ref name="thefall"/><ref name="tuneless"/><ref name="cottonclubcollider"/> |
|||
* ''[[The King of Comedy (film)|The King of Comedy]]'' (1982)<ref>[https://books.google.com/books?id=p7Q8EAAAQBAJ New Wave, New Hollywood: Reasessment, Recovery and Legacy – Google Books (pg.17)]</ref><ref>{{cite web |title=Keeping it Real with Ralph Bakshi (Part I) |date=October 9, 2015 |work=Star & Crescent |url=https://www.starandcrescent.org.uk/2015/10/09/keeping-it-real-with-ralph-bakshi-part-1 |access-date=August 21, 2018}}</ref><ref name="67to80"/> |
|||
* ''[[Return of the Jedi]]'' (1983)<ref name="auto4"/>≈ |
|||
* ''[[Rumble Fish]]'' (1983)<ref name="mubi.com"/><ref name="nach1968"/> |
|||
* ''[[The Outsiders (film)|The Outsiders]]'' (1983)<ref name="nach1968"/> |
|||
* ''[[Star 80]]'' (1983)<ref name="otherhollywoodrenaissance"/> |
|||
* ''[[Twilight Zone: The Movie]]'' (1983)<ref name="gulfnews.com"/> |
|||
* ''[[Body Double]]'' (1984)<ref name="newhollywoodneonoirs"/> |
|||
{{div col end}} |
{{div col end}} |
||
===Notes=== |
|||
* ≈ indicates a [[National Film Registry]] inductee |
|||
==See also== |
==See also== |
||
{{Portal|Film|1960s|1980s}} |
{{Portal|Film|1960s|1970s|1980s}} |
||
* [[Counterculture of the 1960s]] |
* [[Counterculture of the 1960s]] |
||
* [[Golden Age of Television (2000s–present)]] |
* [[Golden Age of Television (2000s–present)]] – similar to New Hollywood in content |
||
** [[List of shows considered as Peak TV]] |
|||
* ''[[A Decade Under the Influence (film)|A Decade Under the Influence]]'' - the 2003 documentary about New Hollywood |
|||
* ''[[A Decade Under the Influence (film)|A Decade Under the Influence]]'' – the 2003 documentary about the New Hollywood |
|||
* ''[[Easy Riders, Raging Bulls]]'' - [[Peter Biskind]]'s controversial account of this era of filmmaking. |
|||
* ''[[Easy Riders, Raging Bulls]]'' – [[Peter Biskind]]'s controversial account of this era of filmmaking |
|||
* ''[[Z Channel: A Magnificent Obsession]]'' – 2004 documentary about the troubled life of programmer [[Jerry Harvey (screenwriter)|Jerry Harvey]] and his California-based movie channel that aired [[director's cut]] editions of films such as ''[[The Wild Bunch]]'' and ''[[Heaven's Gate (film)|Heaven's Gate]]'' |
|||
* [[Cinephilia]] |
* [[Cinephilia]] |
||
* [[Exploitation film]] |
* [[Exploitation film]] – popular during that time |
||
* [[Vulgar auteurism]] |
* [[Vulgar auteurism]] |
||
* [[ |
* [[Modernist film]] |
||
* [[European art cinema]] |
* [[European art cinema]] – popular with audiences during this time period |
||
* [[L.A. Rebellion]] |
* [[L.A. Rebellion]] – alternative African-American cinema in the 1970s–1980s |
||
* [[Midnight movie]] |
* [[Midnight movie]] – popular during this era |
||
* [[Postmodernist film]] [[postmodern television|and television]] |
|||
* [[Minimalist film|Minimalist and]] [[maximalist film|maximalist cinema]] |
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* [[Hippie exploitation films]] |
|||
* [[Blaxploitation]] |
|||
* [[Video essay]] |
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==References== |
==References== |
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===Bibliography=== |
===Bibliography=== |
||
{{refbegin}} |
{{refbegin|40em}} |
||
*{{cite book |last=Biskind |first=Peter |author-link=Peter Biskind |year=1998 |title=Easy Riders, Raging Bulls: How the Sex-Drugs-And Rock 'N Roll Generation Saved Hollywood |publisher=Simon & Schuster |location=New York |isbn=978-0-684-85708-4 |title-link=Easy Riders, Raging Bulls }} |
* {{cite book |last=Biskind |first=Peter |author-link=Peter Biskind |year=1998 |title=Easy Riders, Raging Bulls: How the Sex-Drugs-And Rock 'N Roll Generation Saved Hollywood |publisher=Simon & Schuster |location=New York |isbn=978-0-684-85708-4 |title-link=Easy Riders, Raging Bulls }} |
||
*[[Peter Biskind|Biskind, Peter]] (1990). ''The Godfather Companion: Everything You Ever Wanted to Know About All Three Godfather Films'' (HarperPerennial) |
* [[Peter Biskind|Biskind, Peter]] (1990). ''The Godfather Companion: Everything You Ever Wanted to Know About All Three Godfather Films'' (HarperPerennial) |
||
*{{cite book |last=Belton |first=John |year=1993 |title=American Cinema/American Culture |publisher=McGraw/Hill |location=New York }} |
* {{cite book |last=Belton |first=John |year=1993 |title=American Cinema/American Culture |publisher=McGraw/Hill |location=New York }} |
||
*{{cite book |last=Berliner |first=Todd |year=2010 |title=Hollywood Incoherent: Narration in Seventies Cinema |location=Austin, TX |publisher=University of Texas Press }} |
* {{cite book |last=Berliner |first=Todd |year=2010 |title=Hollywood Incoherent: Narration in Seventies Cinema |location=Austin, TX |publisher=University of Texas Press }} |
||
*Cook, David A. |
* 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 |
||
*{{cite book|last=Harris|first=Mark|title=Pictures at a Revolution: Five Movies and the Birth of the New Hollywood|url=https://archive.org/details/picturesatrevolu00harr_0|url-access=registration|publisher=Penguin Press|location=New York|year=2008|isbn=978-1-594-20152-3}} |
* {{cite book|last=Harris|first=Mark|title=Pictures at a Revolution: Five Movies and the Birth of the New Hollywood|url=https://archive.org/details/picturesatrevolu00harr_0|url-access=registration|publisher=Penguin Press|location=New York|year=2008|isbn=978-1-594-20152-3}} |
||
*Harris, Mark. ''Scenes from a Revolution: The Birth of the New Hollywood''. Canongate Books, 2009. |
* 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 |
* James, David E. ''Allegories of Cinema: American Film in the Sixties''. NY: Princeton University Press, 1989, pp. 1–42 |
||
*[[Pauline Kael|Kael, Pauline]]. "Bonnie and Clyde", in ''For Keeps''. Ed. by Pauline Kael. NY: Plume, 1994, pp. 141–57. |
* [[Pauline Kael|Kael, Pauline]]. "Bonnie and Clyde", in ''For Keeps''. Ed. by Pauline Kael. NY: Plume, 1994, pp. 141–57. |
||
*[[Pauline Kael|Kael, Pauline]]. "Trash, Art, and the Movies", in ''Going Steady: Film Writings 1968–69''. NY: Marion Boyers, 1994, pp. 87–129 |
* [[Pauline Kael|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'', |
* Kanfer, Stefan, "The Shock of Freedom in Films", ''Time Magazine'', December 8, 1967, Accessed April 25, 2009, [https://web.archive.org/web/20110421081549/http://www.time.com/time/magazine/article/0,9171,844256-7,00.html] |
||
*{{cite book |last=King |first=Geoff |title=New Hollywood Cinema: An Introduction |publisher=[[I.B. Tauris]] |location=London |year=2002 |isbn=9781860647499 }} |
* {{cite book |last=King |first=Geoff |title=New Hollywood Cinema: An Introduction |publisher=[[I.B. Tauris]] |location=London |year=2002 |isbn=9781860647499 }} |
||
* |
* {{cite book|last=Kirshner|first=Jonathan|year=2012|title=Hollywood's Last Golden Age: Politics, Society, and the Seventies Film in America|publisher=Cornell University Press|location=Ithaca, New York|isbn=978-0-801-46540-6}} |
||
*{{cite book|last=Krämer|first=Peter|title=The New Hollywood: From Bonnie and Clyde to Star Wars|year=2005|publisher=Wallflower Press|isbn=978-1-904764-58-8|url-access=registration|url=https://archive.org/details/newhollywoodfrom0000kram}} |
* {{cite book|last=Krämer|first=Peter|title=The New Hollywood: From Bonnie and Clyde to Star Wars|year=2005|publisher=Wallflower Press|isbn=978-1-904764-58-8|url-access=registration|url=https://archive.org/details/newhollywoodfrom0000kram}} |
||
*{{cite book | url=https://books.google.com/books?id=mEilBgAAQBAJ | title=Post-classical Hollywood: Film Industry, Style and Ideology Since 1945 | publisher=Edinburgh University Press | year=2010 | isbn=978-0748638574 | first=Barry | last=Langford }} |
* {{cite book | url=https://books.google.com/books?id=mEilBgAAQBAJ | title=Post-classical Hollywood: Film Industry, Style and Ideology Since 1945 | publisher=Edinburgh University Press | year=2010 | isbn=978-0748638574 | first=Barry | last=Langford }} |
||
* [https://books.google.com/books?id=HKReEAAAQBAJ ''Road Trip to Nowhere: Hollywood Encounters the Counterculture''], Jon Lewis, 2022 |
|||
*{{cite book |last=Monaco |first=Paul |year=2001 |title=The Sixties, 1960–69, History of American Cinema |publisher=University of California Press |location=London }} |
|||
*{{cite book |last=Schatz |first=Thomas |year=1993 |chapter=The New Hollywood |title=Film Theory goes to the Movies |url=https://archive.org/details/filmtheorygoesto00coll |url-access=limited |editor=Jim Collins, Hilary Radner and Ava Preacher Collins |publisher=Routledge |location=New York |pages=[https://archive.org/details/filmtheorygoesto00coll/page/8 8]–37 }} |
* {{cite book |last=Monaco |first=Paul |year=2001 |title=The Sixties, 1960–69, History of American Cinema |publisher=University of California Press |location=London }} |
||
* {{cite book |last=Schatz |first=Thomas |year=1993 |chapter=The New Hollywood |title=Film Theory goes to the Movies |url=https://archive.org/details/filmtheorygoesto00coll |url-access=limited |editor=Jim Collins, Hilary Radner and Ava Preacher Collins |publisher=Routledge |location=New York |pages=[https://archive.org/details/filmtheorygoesto00coll/page/8 8]–37 }} |
|||
*{{cite book | last1 = Thompson| first1 = Kristin| last2 = Bordwell| first2 = David| name-list-style = amp| title = Film History: An Introduction| publisher = McGraw–Hill| edition = 2nd| year = 2003 }} |
* {{cite book | last1 = Thompson| first1 = Kristin| last2 = Bordwell| first2 = David| name-list-style = amp| title = Film History: An Introduction| publisher = McGraw–Hill| edition = 2nd| year = 2003 }} |
||
* [https://www.bloomsbury.com/us/new-wave-new-hollywood-9781501372728/ ''New Wave, New Hollywood: Reassessment, Recovery and Legacy''], Nathan Abram and Gregory Frame, 2021 |
|||
{{refend}} |
{{refend}} |
||
==External links== |
==External links== |
||
* [https://siskelebert.org/?p=4408 The First Five Years of the 70s episode of Siskel and Ebert] |
* [https://siskelebert.org/?p=4408 "The First Five Years of the 70s"] episode of ''[[Siskel and Ebert]]'' |
||
* [http://www.dga.org/Craft/DGAQ/All-Articles/1102-Summer-2011/New-Hollywood.aspx The American Revolution |
* [http://www.dga.org/Craft/DGAQ/All-Articles/1102-Summer-2011/New-Hollywood.aspx The American Revolution – DGA] |
||
* [https://www.learner.org/series/american-cinema/the-film-school-generation/ "The Film School Generation"] episode of ''American Cinema'' at Annenberg Learner |
|||
{{Cinema of the United States}} |
{{Cinema of the United States}} |
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{{New Wave in cinema}} |
{{New Wave in cinema}} |
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{{Modernism}} |
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{{Film genres}} |
{{Film genres}} |
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[[Category:1970s in film]] |
[[Category:1970s in film]] |
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[[Category:1980s in film]] |
[[Category:1980s in film]] |
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[[Category: |
[[Category:History of film of the United States]] |
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[[Category:History of film]] |
[[Category:History of film]] |
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[[Category: |
[[Category:History of Hollywood, Los Angeles]] |
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[[Category:Movements in cinema]] |
[[Category:Movements in cinema]] |
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[[Category:1960s in American cinema]] |
[[Category:1960s in American cinema]] |
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[[Category:1980s in American cinema]] |
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[[Category:Film genres particular to the United States]] |
[[Category:Film genres particular to the United States]] |
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[[Category:1965 establishments in the United States]] |
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[[Category:1984 disestablishments in the United States]] |
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[[Category:Modern art]] |
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[[Category:Postmodern art]] |
Latest revision as of 16:33, 24 December 2024
Years active | Mid-1960s to early 1980s |
---|---|
Location | United States |
Influences | |
Influenced |
The New Hollywood, Hollywood Renaissance, American New Wave, or New American Cinema (not to be confused with the New American Cinema of the 1960s that was part of avant-garde underground cinema), was a movement in American film history from the mid-1960s to the early 1980s, when a new generation of filmmakers came to prominence. They influenced the types of film produced, their production and marketing, and the way major studios approached filmmaking.[6] 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 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,[7] Rosemary's Baby, Night of the Living Dead, The Wild Bunch, and Easy Rider while films that failed at the box office such as New York, New York, Sorcerer, Heaven's Gate, They All Laughed and One from the Heart marked the end of the era.[8][9]
History
[edit]Background
[edit]In fact, The Wild Angels was kind of a... it was a big success for the New Hollywood. It was Roger Corman, it was Peter Fonda, Nancy Sinatra, it was a New Hollywood kind of movie, and it was very anti-the Old Hollywood, it was very hard-edged, violent, you know, it was not at all an Old Hollywood movie. And I didn't, I wasn't particularly aware of it. Then the following year was Bonnie and Clyde. Shadows had come out in the early '60s, so that was really the first sign of a kind of off-Hollywood movement.[10]
– Peter Bogdanovich
Following the Paramount Case (which ended block booking and ownership of theater chains by film studios) and the advent of television (where Rod Serling, John Frankenheimer, Arthur Penn, Paddy Chayefsky and Sidney Lumet[11][12][13][14][15][16][17] worked in their earlier years) both of which severely weakened both the traditional studio system and Motion Picture Production Code (or the Hays Code) 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 to retain the dwindling audience and compete with television. However, these were generally unsuccessful in increasing profits.[18] By 1957, Life magazine called the 1950s "the horrible decade" for Hollywood. It was dubbed a "New Hollywood" by a press.[19]
In the 1950s and early 1960s, Hollywood was dominated by musicals, historical epics, and other films that benefited from the larger screens, wider framing, and improved sound. However, audience shares continued to dwindle, and had reached alarmingly low levels by the mid-1960s. Several costly flops, including Tora! Tora! Tora!,[20] Gene Kelly's adaptation of Hello, Dolly! and the Julie Andrews vehicle Star!, each failed attempts to replicate the success of Mary Poppins, Doctor Zhivago and The Sound of Music, put great strain on the studios.[21][22][23]
By the time the Baby Boomer generation started to come 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 the 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.[24] European films, both arthouse and commercial (especially the Commedia all'italiana, the French New Wave, the Spaghetti Western), and Japanese cinema[25] were making a splash in the 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.[26][27]
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.[28] Therefore, in an attempt to capture that audience that 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[29][3] 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[30] and the 1963 horror musical flick The Incredibly Strange Creatures Who Stopped Living and Became Mixed-Up Zombies.[31] This, together with the breakdown of the Hays Code[32] following the Freedman v. Maryland court case in 1965 and the new ratings system in 1968 (reflecting growing market segmentation) set the scene for the New Hollywood.[33]
Bonnie and Clyde
[edit]A defining film of the New Hollywood generation was Bonnie and Clyde (1967).[34] 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 eventually won Academy Awards for Best Supporting Actress (Estelle Parsons)[35] and Best Cinematography.[36][37]
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.[38]
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).[39] 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 empathize with the gang of criminals in terms of their naiveté and innocence reflecting a change in expectations of American cinema.[40]
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 honored 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."[27] 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.[41] 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]The new generation of Hollywood filmmakers was most importantly, from the studios' view, young, therefore able to reach the youth audience they were losing. This collective of actors, screenwriters and directors, dubbed the "New Hollywood" by the press, briefly changed the business from the producer-driven Hollywood system of the past as 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.[42]
Seventies cinema also dealt with masculine crises featuring flawed male characters, downbeat conclusions and pessimistic subject matters[43][44][45][22][46][47] alongside hard-nosed depictions of a America reeling from tense conflicts like The Vietnam War and President Richard Nixon's Watergate scandal.[48]
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".[49]
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 atmosphere.[50][51][52]
Because of breakthroughs in film technology (e.g. the Panavision Panaflex camera, introduced in 1972; the Steadicam, introduced in 1976), 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.[53]
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[54][55][56]) 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.[57][58] Also influential were the works of experimental filmmakers Arthur Lipsett,[59] Stan Brakhage,[2] Bruce Baillie,[60] Jordan Belson,[61][62] John Whitney,[62] Scott Bartlett,[63] Maya Deren and Kenneth Anger[2] with their combinations of music and imagery and each were cited by George Lucas, Francis Ford Coppola and Martin Scorsese as influences.[64][65] The New Hollywood generation of directors and screenwriters (each educated at either USC, UCLA, NYU and AFI[66]) such as Coppola, Lucas, Scorsese, Steven Spielberg, John Milius and Paul Schrader[67] were sometimes jokingly labeled as "Movie Brats" or "Young Turks".[68]
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.[69] 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."[70] Easy Rider also affected the way studios looked to reach the youth market.[70] 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.[71]
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 (even though the success of The Godfather was said to be the precursor to the blockbuster phenomenon).[72][73]
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.[74] She also compared this era of cinema to "tangled, bitter flowering of American letters in the 1850s".[75]
Filmmaker Quentin Tarantino identified in his 2022 book Cinema Speculation that:[9]
"regular moviegoers were becoming weary of modern American movies. The darkness, the drug use, the embrace of sensation-the violence, the sex, and the sexual violence. But even more than that, they became wear of the anti-everything cynicism... Was everything a bummer? Was everything a drag? Was every movie about some guy with problems?"
In 1980, film historian/scholar Robert P. Kolker examined New Hollywood film directors in his book A Cinema of Loneliness: Penn, Kubrick, Coppola, Scorsese, Altman, and how their films influenced American society of the 1960s and 1970s.[76] Kolker observed that "for all the challenge and adventure, their films speak to a continual impotence in the world, an inability to change and to create change."[77]
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,[78] 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.[79]
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,[80] 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.[81]
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".[82] Author and film critic David Thomson also shared similar sentiment to the point of dubbing the era "the decade when movies mattered".[75]
Author A.D. Jameson (I Find Your Lack of Faith Disturbing), on the other hand, claimed that Star Wars was New Hollywood's finest achievement that actually embodied the characteristics of the respected "serious, sophisticated adult films".[83][84]
Steven Hyden, writing for Grantland, called the Movie Brats the "cinematic version" of classic rock (to the point of roll calling Spielberg as the Beatles, Scorsese as the Velvet Underground, Coppola as Bob Dylan, Lucas as Pink Floyd, Robert Altman as Neil Young, Brian De Palma as Led Zeppelin, Bogdanovich as the Beach Boys and Hal Ashby as the Kinks).[47]
Criticism and legacy
[edit]Los Angeles Times article film critic Manohla Dargis described New Hollywood as the "halcyon age" of 1970s filmmaking, that "was less revolution than business as usual, with rebel hype".[85] She also pointed out in her New York Times article that the era's 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)."[86]
This era was also infamous for its excessive decadence and on-set mishaps.[87][88][89] Incidents plaguing the behind-the-scenes of some of the horror films from this era (such as Rosemary's Baby, The Exorcist, Twilight Zone: The Movie and The Omen) were also the subjects for the docuseries Cursed Films.[90][91][92][93] Even Spielberg, who co-directed/co-produced Twilight Zone with John Landis, was so disgusted by the latter's handling of a deadly helicopter accident that resulted in the death of three actors, that he ended their friendship and publicly called for the end of New Hollywood. When approached by the press about the accident, he stated:[94]
"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!'
The films of New Hollywood influenced future mainstream and independent filmmakers such as Tarantino, Paul Thomas Anderson and Noah Baumbach.[95][47] They also influenced both the Poliziotteschi genre films in Italy[96] and a decade later the Cinéma du look movement in France.[97] Todd Phillips's 2019 DC Comics adaptation Joker, alongside the film's period setting, was inspired by the Martin Scorsese classics Taxi Driver and The King of Comedy[98] while Alexander Payne's 2023 film The Holdovers took inspiration from Ashby's works.[99]
American Eccentric Cinema has been noted as influenced by this era.[100] Both traditions have similar themes and narratives of existentialism and the need for human interaction.[100] 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,[100] with themes that were reflective of sociocultural issues and were centered around the potential meaninglessness of pursuing the American Dream as generation upon generation was motivated to possess it.[100] 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.[100]
The New American Cinema has also been ripe for parody as in Jim Reardon's cult 1986 animated student film Bring Me the Head of Charlie Brown spoofing Taxi Driver, The Wild Bunch and Bring Me the Head of Alfredo Garcia.[101]
Notable figures of the movement
[edit]Actors
[edit]- Woody Allen[102]
- René Auberjonois[103][104]
- Ned Beatty[105]
- Warren Beatty[106][44]
- Candice Bergen[102]
- Jacqueline Bisset[102]
- Karen Black[107][108]
- Timothy Bottoms[102]
- Peter Boyle[107]
- Marlon Brando[109]
- Beau Bridges[110]
- Jeff Bridges[102]
- Albert Brooks[111]
- Mel Brooks[112]
- Geneviève Bujold[102]
- Ellen Burstyn[102]
- James Caan[102][113]
- Michael Caine[102]
- Dyan Cannon[102]
- Keith Carradine[114]
- Diahann Carroll[115]
- John Cassavetes[102]
- John Cazale[116]
- Julie Christie[110]
- Jill Clayburgh[117]
- Sean Connery[102]
- Bud Cort[118]
- Jamie Lee Curtis[102][3]
- Beverly D'Angelo[102]
- Robert De Niro[102]
- Bruce Dern[102][3]
- Danny DeVito[119]
- Matt Dillon[120]
- Michael Douglas[102]
- Brad Dourif[119]
- Richard Dreyfuss[102][3]
- Faye Dunaway[102]
- Robert Duvall[102]
- Shelley Duvall[102][121]
- Clint Eastwood[102][109]
- Peter Falk[122]
- Mia Farrow[102]
- Louise Fletcher[102]
- Jane Fonda[102][113]
- Peter Fonda[123]
- Harrison Ford[102]
- Jodie Foster[102]
- Teri Garr[102]
- Ben Gazzara[122][124]
- Richard Gere[125]
- Elliott Gould[102][22][113]
- Lee Grant[126][115]
- Pam Grier[102]
- Charles Grodin[102][109]
- Gene Hackman[102][127]
- Mark Hamill[83]
- Goldie Hawn[102]
- Dustin Hoffman[128][44][95]
- Anthony Hopkins[102]
- Dennis Hopper[129]
- Ron Howard[3]
- Glenda Jackson[102]
- James Earl Jones[115]
- Madeline Kahn[130][109]
- Carol Kane[102]
- Diane Keaton[102]
- Harvey Keitel[102]
- Sally Kellerman[102]
- Margot Kidder[131]
- Kris Kristofferson[110]
- Diane Ladd[5]
- Jessica Lange[132][3]
- Cloris Leachman[110]
- Paul Le Mat[3]
- Walter Matthau[109]
- Malcolm McDowell[102]
- Liza Minnelli[109][3]
- Paul Newman[107][95]
- Olivia Newton-John[102]
- Jack Nicholson[123][44][25]
- Warren Oates[107]
- Ryan O'Neal[102][109]
- Tatum O'Neal[130]
- Peter O'Toole[102]
- Al Pacino[128]
- Mackenzie Phillips[3]
- Sidney Poitier[133]
- Richard Pryor[109][134]
- Robert Redford[102][95]
- Vanessa Redgrave[135]
- Burt Reynolds[102]
- Jason Robards[136]
- Diana Ross[109][134]
- Gena Rowlands[102][22]
- Roy Scheider[107][104]
- George Segal[102][137]
- Martin Sheen[102]
- Sam Shepard[138]
- Cybill Shepherd[102][109]
- Talia Shire[109]
- Tom Skerritt[139]
- Charles Martin Smith[3]
- Sissy Spacek[102]
- Sylvester Stallone[102]
- Harry Dean Stanton[120]
- Mary Steenburgen[140]
- Meryl Streep[102]
- Barbra Streisand[102][109][134]
- Donald Sutherland[102][113]
- Lily Tomlin[141]
- Rip Torn[142][120]
- John Travolta[102][127]
- Cicely Tyson[143]
- Jon Voight[128]
- Sigourney Weaver[144]
- Gene Wilder[102]
- Billy Dee Williams[109][134]
- Cindy Williams[3]
- Paul Williams[145]
- Joanne Woodward[102]
Directors
[edit]- John G. Avildsen[157][95][158][3]
- John Badham[159][111]
- Ralph Bakshi[160]
- Paul Bartel[3][120]
- Robert Benton[95][22][111]
- John Berry[115]
- Peter Bogdanovich[161]
- James Bridges[162][22]
- Albert Brooks[111]
- Mel Brooks[163][95]
- John Boorman[164][95][158]
- John Carpenter[167]
- John Cassavetes[169]
- Michael Cimino[173]
- Shirley Clarke[174]
- Larry Cohen[120][175]
- Francis Ford Coppola[176]
- Roger Corman[177][164]
- Wes Craven[3]
- Michael Crichton[178]
- Joe Dante[177][3]
- Jonathan Demme[111][179][3]
- Brian De Palma[180]
- Richard Donner[181]
- Robert Downey Sr.[3]
- Richard Fleischer[111][158]
- Miloš Forman[20][44][104]
- Bob Fosse[182][158][183]
- John Frankenheimer[158][184]
- William Friedkin[164][148][183]
- Sidney J. Furie[134][185]
- Ulu Grosbard[95]
- Monte Hellman[118][177]
- Buck Henry[111]
- George Roy Hill[159]
- Walter Hill[186][146][147]
- Arthur Hiller[187][188][189][95]
- Tobe Hooper[20][183]
- Dennis Hopper[164][25]
- John Huston[95][104]
- Henry Jaglom[5][158]
- Norman Jewison[190]
- Irvin Kershner[158]
- Stanley Kubrick[164][44]
- John Landis[191][22]
- Tom Laughlin[177]
- Richard Lester[3]
- George Lucas[164][172][165][3]
- Sidney Lumet[107][171][32][184]
- David Lynch[182][166][3]
- Terrence Malick[128][150][177][156]
- Michael Mann[113]
- Elaine May[117][32][192][120]
- Paul Mazursky[193][194][195]
- John Milius[182][95][22][166][3]
- Robert Mulligan[158][184]
- Floyd Mutrux[120]
- Ralph Nelson[110]
- Mike Nichols[164][148][44][3][184]
- Alan J. Pakula[164][156][95][113]
- Gordon Parks[111]
- Ivan Passer[108][179][22]
- Sam Peckinpah[196]
- Melvin Van Peebles[168][183]
- Larry Peerce[158]
- Arthur Penn[164][148][34][44][156]
- Frank Perry[95][158][197]
- Roman Polanski[199]
- Sydney Pollack[107][22]
- Bob Rafelson[128][25][32][95]
- Michael Ritchie[200][95][158][22][3]
- Martin Ritt[158]
- George A. Romero[201][202][183][3]
- Stuart Rosenberg[107][22][184]
- Alan Rudolph[203][158]
- Richard C. Sarafian[164][185]
- Franklin J. Schaffner[178][158][3]
- Jerry Schatzberg[204]
- John Schlesinger[164][95][158]
- Paul Schrader[205]
- Martin Scorsese[206]
- Ridley Scott[20]
- Don Siegel[107][149]
- Joan Micklin Silver[207][192][158]
- Steven Spielberg[210]
- Mel Stuart[158]
- James Toback[211]
- Claudia Weill[158]
- Haskell Wexler[3]
- Peter Yates[107][95][158][149]
- David Zucker, Jim Abrahams and Jerry Zucker[212]
Others
[edit]- Dede Allen[213]
- John Alcott[214][61]
- Nestor Almendros[177]
- John A. Alonzo[177]
- Steven Bach[215]
- Elaine and Saul Bass[216]
- Bill Butler[217]
- William Peter Blatty[218]
- Wendy Carlos[219][220][221]
- Michael Chapman[214]
- Paddy Chayefsky[222]
- Stewart Copeland[223][224][225]
- Pino Donaggio[226][223]
- Tangerine Dream[227][228][8]
- Bob Dylan[229]
- Roger Ebert[230][223]
- Robert Evans[234]
- Pablo Ferro[235][236]
- William A. Fraker[237]
- Tak Fujimoto[238]
- William Goldman[7]
- Jerry Goldsmith[239][223]
- Berry Gordy[109][134]
- Conrad L. Hall[240]
- Bo Harwood[241][223]
- James Wong Howe[242]
- Willard Huyck[243]
- Quincy Jones[244]
- Pauline Kael[245][122][223][75]
- Gloria Katz[243]
- László Kovács[246]
- Ring Lardner Jr.[115]
- Barry Malkin[247]
- Giorgio Moroder[223][248][249][158]
- Ennio Morricone[250]
- Walter Murch[134][66]
- Harry Nilsson[251][252]
- Jack Nitzsche[253][254]
- Mike Oldfield[255]
- Dan Perri[256]
- Polly Platt[257][109]
- Owen Roizman[258]
- Waldo Salt[115]
- Andrew Sarris[246]
- John Sayles[3]
- Lalo Schifrin[259][260][223]
- Bert Schneider[261]
- Thelma Schoonmaker[262][263]
- David Shire[264][223]
- Gene Siskel[230][223]
- Vittorio Storaro[265][66]
- Robert Surtees[7]
- Robert Towne[266][3]
- Donald Trumbull[61][62]
- Vangelis[223]
- Tom Waits[267][268][179][172]
- Haskell Wexler[164]
- John Williams[269][270]
- Gordon Willis[164][44]
- Frank Yablans[66]
- Vilmos Zsigmond[271][272]
List of notable films
[edit]The following is a chronological list of notable films that are generally considered to be "New Hollywood" productions.
- Mickey One (1965)[273][274]
- Seconds (1966)[275][156] ≈
- Who's Afraid of Virginia Woolf? (1966)[276][158][134] ≈
- The Wild Angels (1966)[277]
- The Shooting (1966)[246][3]
- Ride in the Whirlwind (1966)[246][3]
- You're a Big Boy Now (1966)[278][104]
- Portrait of Jason (1967)[174]≈
- In the Heat of the Night (1967)[174][127] ≈
- Bonnie and Clyde (1967)[279][280][171][281][282][223][32] ≈
- The Graduate (1967)[279][283][280][281][44][32] ≈
- Who's That Knocking at My Door (1967)[95][104]
- In Cold Blood (1967)[179][284] ≈
- Reflections in a Golden Eye (1967)[44]
- The Dirty Dozen (1967)[285][280][178][143]
- Dont Look Back (1967)[280]≈
- Point Blank (1967)[286][179][95]≈
- The Trip (1967)[273]
- David Holzman's Diary (1967)[183] ≈
- Funny Girl (1968)[134]≈
- The Producers (1968)[95]≈
- The Swimmer (1968)[197]
- Coogan's Bluff (1968)[163]
- Greetings (1968)[287][179]
- 2001: A Space Odyssey (1968)[288][289][282][223]≈
- Planet of the Apes (1968)[290] ≈
- Petulia (1968)[288][179]
- Rosemary's Baby (1968)[179][158][127][291]≈
- The Thomas Crown Affair (1968)[158]≈
- Faces (1968)[158][183]≈
- Targets (1968)[164][3]
- Bullitt (1968)[292][293][158] ≈
- Night of the Living Dead (1968)[294][183][291]≈
- Head (1968)[295][179]
- Downhill Racer (1969)[95]
- Alice's Restaurant (1969)[286][179][22]
- Easy Rider (1969)[296][295][281][25][282][297][3]≈
- Medium Cool (1969)[296][95]≈
- Midnight Cowboy (1969)[279][179][171][282]≈
- Putney Swope (1969)[3]≈
- The Rain People (1969)[298][278][22]
- Goodbye, Columbus (1969)[299]
- Take the Money and Run (1969)[163]
- The Wild Bunch (1969)[276][179]≈
- Bob & Carol & Ted & Alice (1969)[276][3]
- Butch Cassidy and the Sundance Kid (1969)[285][283]≈
- They Shoot Horses, Don't They? (1969)[298][95]
- Wanda (1970)[183][53][300][75][32][282][192][120]≈
- Watermelon Man (1970)[156]
- Hi, Mom! (1970)[104]
- The Boys in the Band (1970)[299][95]
- Diary of a Mad Housewife (1970)[95][158][52]
- Alex in Wonderland (1970)[298]
- Husbands (1970)[158][51]
- Catch-22 (1970)[298][95][22]
- The Landlord (1970)[297][158][120]
- MASH (1970)[301][179][44][166][149]≈
- Love Story (1970)[283][246]
- Airport (1970)[283][246]
- Bloody Mama (1970)[146][147]
- The Strawberry Statement (1970)[276][158][3]
- Loving (1970)[302][51]
- Kelly's Heroes (1970)[178]
- Patton (1970)[158]≈
- Five Easy Pieces (1970)[287][295][44][25][297][198]≈
- Little Big Man (1970)[296][179]≈
- Brewster McCloud (1970)[303][273][104]
- Joe (1970)[276][3]
- Woodstock (1970)[246][304]≈
- The Ballad of Cable Hogue (1970)[273]
- Zabriskie Point (1970)[296][246][304][223][3]
- Gimme Shelter (1970)[183][297]
- Where's Poppa (1970)[51]
- A New Leaf (1971)[192][297][95][109]≈
- Drive, He Said (1971)[295][108]
- A Safe Place (1971)[295][5]
- Minnie and Moskowitz (1971)[158]
- Fiddler on the Roof (1971)[276]
- Willy Wonka and the Chocolate Factory (1971)[3]≈
- The Panic in Needle Park (1971)[302][95][3]
- Play Misty for Me (1971)[163]
- Shaft (1971)[51][109]≈
- Klute (1971)[305][156][95]
- Vanishing Point (1971)[22][185]
- The Beguiled (1971)[306]
- McCabe & Mrs. Miller (1971)[223][282][109][149]≈
- Carnal Knowledge (1971)[307][95][198]
- Such Good Friends (1971)[308][51]
- Taking Off (1971)[44][22][51]
- Two-Lane Blacktop (1971)[296][82][223][273][22][3][185]≈
- The Last Movie (1971)[296][246][104][185]
- The Hired Hand (1971)[104][185]
- The Last Picture Show (1971)[287][295][171][25][282][297]≈
- The French Connection (1971)[290][282][109][185]≈
- The Anderson Tapes (1971)[51][52]
- A Clockwork Orange (1971)[309][198]≈
- Dirty Harry (1971)[163][22][109]≈
- Harold and Maude (1971)[246][282][95]≈
- Straw Dogs (1971)[276][158][198]
- Sweet Sweetback's Baadasssss Song (1971)[296][53][168][120]≈
- THX 1138 (1971)[246][223][3]
- Little Murders (1971)[299]
- Billy Jack (1971)[177]
- Bananas (1971)[166]
- Duel (1971)[179][22]
- The Hospital (1971)[95][158][51]≈
- They Might Be Giants (1971)[51]
- Born to Win (1971)[108][137][52][51]
- Dusty and Sweets McGee (1971)[120]
- Johnny Got His Gun (1971)[95]
- Lady Sings the Blues (1972)[109][134]
- The Heartbreak Kid (1972)[32][192][109][120]
- Cabaret (1972)[310][158][109]≈
- Deliverance (1972)[311]≈
- Tomorrow (1972)[312]
- Prime Cut (1972)[48]
- Pocket Money (1972)[306]
- Cisco Pike (1972)[120][48]
- The Hot Rock (1972)[51]
- The Getaway (1972)[95][158][22]
- Bad Company (1972)[312][111]
- The Last House on the Left (1972)[313]
- Fat City (1972)[314][223][95][158][104]
- Fritz the Cat (1972)[276]
- Images (1972)[298][158]
- The Poseidon Adventure (1972)[283]
- Slaughterhouse-Five (1972)[298]
- The Godfather (1972)[288][283][315][89][111][223][109]≈
- Super Fly (1972)[51]≈
- Junior Bonner (1972)[312]
- Boxcar Bertha (1972)[316][146][147][3]
- The King of Marvin Gardens (1972)[287][295][25][273][32][109][3]
- What's Up, Doc? (1972)[287][158][109]
- Hickey & Boggs (1972)[120][48]
- Payday (1972)[299][120]
- Sounder (1972)[143]≈
- The Candidate (1972)[95][158]
- Heavy Traffic (1973)[160]
- American Graffiti (1973)[283][32][22][166][143][3]≈
- Badlands (1973)[287][223][282][120][317]≈
- Dillinger (1973)[287][95]
- Emperor of the North (1973)[146][147]
- Westworld (1973)[178]
- The Friends of Eddie Coyle (1973)[95][158]
- The Long Goodbye (1973)[318][22][113][317]≈
- The Last Detail (1973)[319][156][95][104]
- Mean Streets (1973)[317][95][51][52][198][120]≈
- Paper Moon (1973)[320][146][147][95]
- Charley Varrick (1973)[306]
- The Last American Hero (1973)[306]
- Blume in Love (1973)[137]
- Pat Garrett and Billy the Kid (1973)[321]
- Breezy (1973)[273][316]
- Serpico (1973)[322][115][52]
- Sisters (1973)[287][316][32]
- Save the Tiger (1973)[95]
- Sleeper (1973)[163][297]
- The Exorcist (1973)[283][297][291]≈
- Messiah of Evil (1973)[323]
- The Way We Were (1973)[143]
- Scarecrow (1973)[183]
- The Sting (1973)[283][315][146][147][95]≈
- Electra Glide in Blue (1973)[306][324]
- Claudine (1974)[115]
- Foxy Brown (1974)[48]
- Daisy Miller (1974)[111]
- Alice Doesn't Live Here Anymore (1974)[325][179][95]
- Thieves Like Us (1974)[146][147][109]
- Harry and Tonto (1974)[179]
- Bring Me the Head of Alfredo Garcia (1974)[22]
- Dark Star (1974)[287][223][316][3]
- California Split (1974)[288][326][156][95][137]
- Chinatown (1974)[327][179][315][282][146][147][297][113]≈
- The Yakuza (1974)[22]
- The Gambler (1974)[111]
- Phantom of the Paradise (1974)[145]
- The Conversation (1974)[298][116][134][198][66][317]≈
- The Godfather Part II (1974)[163][315][111]≈
- The Sugarland Express (1974)[327][177][179][316][32]
- The Parallax View (1974)[298][111][297]
- A Woman Under the Influence (1974)[85][282][32]≈
- The Towering Inferno (1974)[283][127]
- Blazing Saddles (1974)[163][283]≈
- Young Frankenstein (1974)[163]≈
- Hearts and Minds (1974)[183][328][5]≈
- The Texas Chain Saw Massacre (1974)[183][291]≈
- Caged Heat (1974)[3]
- Lenny (1974)[316][158][22][183]
- Death Wish (1974)[183][51][111]
- Freebie and the Bean (1974)[329]
- The Taking of Pelham One Two Three (1974)[51]
- Thunderbolt and Lightfoot (1974)[158]
- Hester Street (1975)[75][192][158][109]≈
- Aloha, Bobby and Rose (1975)[48]
- One Flew Over the Cuckoo's Nest (1975)[283][315][282]≈
- Dog Day Afternoon (1975)[330][179][171][282][297][51][52]≈
- Three Days of the Condor (1975)[331][111][22][51]
- The Eiger Sanction (1975)[163]
- Rafferty and the Gold Dust Twins (1975)[312]
- Jaws (1975)[332][283][209][89][95][47][3][127][291]≈
- Nashville (1975)[179][108][198]≈
- Smile (1975)[200][179]
- Night Moves (1975)[318][223][333][113]
- Shampoo (1975)[334][44][95]
- Hard Times (1975)[146][147][48]
- The Day of the Locust (1975)[335][316][22][143]
- Barry Lyndon (1975)[336][223][198]
- The Wind and the Lion (1975)[287]
- At Long Last Love (1975)[337][45]
- Leadbelly (1976)[111]
- Harlan County, USA (1976)[192]≈
- Not a Pretty Picture (1976)[192]
- The Killing of a Chinese Bookie (1976)[223]
- Mikey and Nicky (1976)[156][192][120]
- All the President's Men (1976)[338][179][282][3]≈
- Welcome to L.A. (1976)[158]
- Next Stop, Greenwich Village (1976)[308][179]
- Carrie (1976)[163][172][223][166][127][291]≈
- Obsession (1976)[332][333][156][32]
- The Omen (1976)[339][127][181]
- The Outlaw Josey Wales (1976)[163]≈
- God Told Me To (1976)[175]
- Assault on Precinct 13 (1976)[175][32][3]
- Network (1976)[340][179][52][51]≈
- Marathon Man (1976)[51][111]
- Rocky (1976)[283][95][3]≈
- Taxi Driver (1976)[327][179][315][281][198][113]≈
- Buffalo Bill and the Indians (1976)[341][342][95]
- Bound for Glory (1976)[146][147][95][3]
- Futureworld (1976)[178]
- The Last Tycoon (1976)[146][147]
- Opening Night (1977)[158]
- Annie Hall (1977)[343][179][282]≈
- Close Encounters of the Third Kind (1977)[163][47][3]≈
- Eraserhead (1977)[287][282]≈
- The Hills Have Eyes (1977)[344]
- The Gauntlet (1977)[163]
- High Anxiety (1977)[163]
- The Late Show (1977)[318][22]
- Handle with Care (1977)[308][111][48]
- Looking for Mr. Goodbar (1977)[345]
- New York, New York (1977)[172][337][45][95]
- Saturday Night Fever (1977)[332][51][111][127]≈
- Sorcerer (1977)[346][179][89][45]
- Star Wars (1977)[163][172][95][295][149][3]≈
- 3 Women (1977)[298][223][158][198]
- Girlfriends (1978)[75][192]≈
- The Wiz (1978)[52][51]
- American Hot Wax (1978)[48]
- An Unmarried Woman (1978)[179][51]
- Eyes of Laura Mars (1978)[51][48]
- Blue Collar (1978)[287][179][95][158]
- Straight Time (1978)[273][316][95]
- Superman (1978)[181]≈
- Grease (1978)[332][143][127]≈
- Days of Heaven (1978)[287][175][297][166][198]≈
- Heaven Can Wait (1978)[111]
- The Deer Hunter (1978)[287][171][223][198]≈
- Coming Home (1978)[95][158][22]
- Interiors (1978)[298][51]
- Fingers (1978)[211]
- Invasion of the Body Snatchers (1978)[223]
- National Lampoon's Animal House (1978)[332][22]≈
- Coma (1978)[178]
- Who'll Stop the Rain (1978)[175][22]
- Convoy (1978)[22]
- The Driver (1978)[347]
- Dawn of the Dead (1978)[175]
- Halloween (1978)[163][32][223][291]≈
- Chilly Scenes of Winter (1979)[192][158]
- Alien (1979)[294][315][291]≈
- All That Jazz (1979)[348][158][166]≈
- Hardcore (1979)[223][281][95]
- Apocalypse Now (1979)[327][179][315][89][282][198]≈
- Being There (1979)[95][158]≈
- Real Life (1979)[111]
- The China Syndrome (1979)[158][22]
- Norma Rae (1979)[158][22]≈
- Kramer vs. Kramer (1979)[223][95][158]
- Manhattan (1979)[179][51][166]≈
- Wise Blood (1979)[179]
- The Warriors (1979)[22][52]
- Over the Edge (1979)[120]
- 1941 (1979)[349][22]
- Gloria (1980)[22][51]
- Melvin and Howard (1980)[287][179]
- The Shining (1980)[163][223][315][291]≈
- Popeye (1980)[350][89]
- Bronco Billy (1980)[163]
- Raging Bull (1980)[179][95]≈
- The Empire Strikes Back (1980)[351][315]≈
- American Gigolo (1980)[223][158]
- Cruising (1980)[352][95][158][51]
- Dressed to Kill (1980)[332][22][51]
- Brubaker (1980)[22]
- Urban Cowboy (1980)[22]
- Airplane! (1980)[163]≈
- Stardust Memories (1980)[353][179][95]
- Heaven's Gate (1980)[354][355][356][89][282][9]
- History of the World, Part I (1981)[163]
- Blow Out (1981)[179][22][127][113]
- Raiders of the Lost Ark (1981)[357][209][315][166]≈
- Cutter's Way (1981)[179][22]
- Escape from New York (1981)[51]
- Reds (1981)[334][179]
- They All Laughed (1981)[179]
- Thief (1981)[113]
- The Postman Always Rings Twice (1981)[3]
- The Thing (1982)[291]
- Blade Runner (1982)[358][223]≈
- Cat People (1982)[158]
- E.T. the Extra-Terrestrial (1982)[357][47]≈
- First Blood (1982)[127]
- One from the Heart (1982)[359][360][179][172][337][89]
- The King of Comedy (1982)[361][362][95]
- Return of the Jedi (1983)[351]≈
- Rumble Fish (1983)[223][22]
- The Outsiders (1983)[22]
- Star 80 (1983)[158]
- Twilight Zone: The Movie (1983)[94]
- Body Double (1984)[113]
Notes
[edit]- ≈ indicates a National Film Registry inductee
See also
[edit]- Counterculture of the 1960s
- Golden Age of Television (2000s–present) – similar to New Hollywood in content
- A Decade Under the Influence – the 2003 documentary about the New Hollywood
- Easy Riders, Raging Bulls – Peter Biskind's controversial account of this era of filmmaking
- Z Channel: A Magnificent Obsession – 2004 documentary about the troubled life of programmer Jerry Harvey and his California-based movie channel that aired director's cut editions of films such as The Wild Bunch and Heaven's Gate
- Cinephilia
- Exploitation film – popular during that time
- Vulgar auteurism
- Modernist film
- European art cinema – popular with audiences during this time period
- L.A. Rebellion – alternative African-American cinema in the 1970s–1980s
- Midnight movie – popular during this era
- Postmodernist film and television
- Minimalist and maximalist cinema
- Hippie exploitation films
- Blaxploitation
- Video essay
References
[edit]- ^ "New Hollywood: American New Wave". www.newwavefilm.com.
- ^ a b c "New Hollywood" and the 60s Melting Pot|Jonathan Rosenbaum
- ^ 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 az ba bb bc bd be bf bg "Film History of the 1970s". www.filmsite.org.
- ^ Francis Ford Coppola: 'Apocalypse Now is not an anti-war film'|The Guardian
- ^ a b c d e Hendershot, Heather (May 11, 2011). "Losers Take All: On the New American Cinema". The Nation. Archived from the original on July 20, 2018. Retrieved July 21, 2018.
- ^ "50 best movies from the 1970s". Stacker.
- ^ a b c The Top 10 Underrated Movies ... and 10 Classics We'd Like to Forget – LAmag
- ^ a b Hollywood's wildest ever thriller? – BBC
- ^ a b c d How One Movie Killed The 1980s – Patrick (H) Willems on YouTube
- ^ Bogdanovich, Peter. "Peter Bogdanovich Chapter 2".
- ^ A Sharper Picture: Revisiting Anthology Drama|wcftr.commarts.wisc.edu
- ^ The Tele-Playwrights|wcftr.commarts.wisc.edu/
- ^ DVD Savant Review: The Golden Age of Television – DVD Talk
- ^ Film in the Television Age – Annenberg Learner
- ^ The Most Influential Classic Shows from TV's 'Golden Age'|HISTORY
- ^ "Playhouse 90 and the End of the Golden Age|wcftr.commarts.wisc.edu". Archived from the original on May 22, 2022. Retrieved December 30, 2023.
- ^ The Golden Age of Television|wcftr.commarts.wisc.edu
- ^ David E James, Allegories of Cinema, American Film in the Sixties, Princeton University Press, New York, 1989, pp. 14–26
- ^ Hodgins, Eric (June 10, 1957). "Amid Ruins of an Empire a New Hollywood Arises". Life. p. 146. Retrieved April 22, 2012.
- ^ a b c d e "Top 100 Best 70s Movies". filmschoolwtf.com. Retrieved July 19, 2018.
- ^ Schatz (1993), pp. 15–20
- ^ 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 New Hollywood – Der Amerikanische Film Nach 1968 (The American Film After 1968) – Google Books
- ^ American Films of the 70s: Conflicting Visions - Google Books (pg. "Introduction: "Nobody Knows Anything")
- ^ Belton (1993), p. 290
- ^ a b c d e f g h i j k l m Bob Rafelson, New Hollywood era director, dies at 89| AP News
- ^ 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
- ^ a b "Arthur Penn's 'Bonnie and Clyde': A New Style of Film – TIME". April 21, 2011. Archived from the original on April 21, 2011.
- ^ Schatz (1993), pp. 14–16
- ^ Roger Corman: "Hectic, Maddening, but Fun"|Current|The Criterion Collection
- ^ From the Arthouse to the Grindhouse – Google Books (pg.192)
- ^ Patterson, John (January 6, 2016). "Vilmos Zsigmond: the cinematographer who transformed how films look". The Guardian. London, United Kingdom. Retrieved November 1, 2018.
- ^ a b c d e f g h i j k l m n o p q New Hollywood: Movies, Directors, and Influences of the Era|Backstage
- ^ Schatz (1993)
- ^ a b "AFI Silver Theatre and Cultural Center". www.afi.com.
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- ^ "Burnett Guffey winning the Oscar® for Cinematography for "Bonnie and Clyde"". November 7, 2013 – via www.youtube.com.
- ^ "The 40th Academy Awards | 1968". Oscars.org | Academy of Motion Picture Arts and Sciences. October 4, 2014.
- ^ "New Hollywood: American New Wave Cinema (1967–69)". www.newwavefilm.com.
- ^ Biskind (1998), pp. 40–47
- ^ 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
- ^ Biskind (1998)
- ^ Berliner (2010), pp. 51–52
- ^ John Frankenheimer's 'Seconds': The Loneliest Studio Film of the 1960s – Film School Rejects
- ^ a b c d e f g h i j k l m n o p q r How New Hollywood Spirit Lives in 'Armageddon Time,' 'The Inspection' and 'Vengeance' – Variety
- ^ a b c d June 1977: When New Hollywood Got Weird – The Film Stage
- ^ Features - Reverse Shot
- ^ a b c d e f Twilight of the Movie Brats: Steven Spielberg and the Old 'New' Hollywood – Grantland
- ^ a b c d e f g h i j The Shadow Cinema of the American '70s|Quad Cinema
- ^ Schatz (1993), pp. 22
- ^ McCormack, J. W. (May 1, 2018). "The 11 Best Gritty New York Films from the 1970s". Culture Trip.
- ^ 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 Film Fourm · "Ford to City: Drop Dead" – New York in the 70s
- ^ a b c d e f g h i j Film Fourm resurrects a gritty city with 'New York in the '70s'|amNewYork
- ^ a b c "Filmmuseum – Program SD". www.filmmuseum.at.
- ^ Dargis, Manohla (July 12, 2008). "An Artist of the Cutting-Room Floor". The New York Times.
- ^ "Bruce Conner: The Artist Who Shaped Our World". DangerousMinds. June 25, 2011.
- ^ "Bruce Conner: Father of the Music Video – Utne". www.utne.com. October 2, 2013.
- ^ Monaco (2001), p. 183
- ^ April 02, David Canfield; EDT, 2018 at 10:15 am. "Why '2001: A Space Odyssey' was a masterpiece so ahead of its time". EW.com.
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External links
[edit]- "The First Five Years of the 70s" episode of Siskel and Ebert
- The American Revolution – DGA
- "The Film School Generation" episode of American Cinema at Annenberg Learner
- New Wave in cinema
- 1960s in film
- 1970s in film
- 1980s in film
- History of film of the United States
- History of film
- History of Hollywood, Los Angeles
- Movements in cinema
- 1960s in American cinema
- 1970s in American cinema
- 1980s in American cinema
- Film genres particular to the United States
- 1965 establishments in the United States
- 1984 disestablishments in the United States
- Modern art
- Postmodern art