Jump to content

New Hollywood

From Wikipedia, the free encyclopedia

This is an old revision of this page, as edited by StjepanHR (talk | contribs) at 05:31, 3 April 2021 (Undid revision 1015728819 by Claus st margarita (talk); once again, please discuss on the talk page. Thank You in advance). The present address (URL) is a permanent link to this revision, which may differ significantly from the current revision.

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

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

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

History

Background

Following the 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, were invented in order to retain the dwindling audience and compete with television. However, these were generally unsuccessful in increasing profits.[2] By 1957, Life magazine called the 1950s "the horrible decade" for Hollywood.[3]

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

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

The desperation felt by studios during this period of economic downturn, and after the losses from expensive movie flops, led to innovation and risk-taking, allowing greater control by younger directors and producers.[8] Therefore, in an attempt to capture that audience which found a connection to the "art films" of Europe, the studios hired a host of young filmmakers (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.[9]

Bonnie and Clyde

A defining film of the New Hollywood generation was Bonnie and Clyde (1967).[10]

Produced by and starring Warren Beatty and directed by Arthur Penn, its combination of graphic violence and humor, as well as its theme of glamorous disaffected youth, was a hit with audiences. The film won Academy Awards for Best Supporting Actress (Estelle Parsons)[11] and Best Cinematography.[12][13]

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.[14]

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).[15] Kael drew attention to the innocence of the characters in the film and the artistic merit of the contrast of that with the violence in the film: "In a sense, it is the absence of sadism — it is the violence without sadism — that throws the audience off balance at Bonnie and Clyde. The brutality that comes out of this innocence is far more shocking than the calculated brutalities of mean killers." Kael also noted the reaction of audiences to the violent climax of the movie, and the potential to empathise with the gang of criminals in terms of their naiveté and innocence reflecting a change in expectations of American cinema.[16]

The cover story in Time magazine in December 1967, celebrated the movie and innovation in American New Wave cinema. This influential article by Stefan Kanfer claimed that Bonnie and Clyde represented a "New Cinema" through its blurred genre lines, and disregard for honoured aspects of plot and motivation, and that "In both conception and execution, Bonnie and Clyde is a watershed picture, the kind that signals a new style, a new trend."[7] Biskind states that this review and turnaround by some critics allowed the film to be re-released, thus proving its commercial success and reflecting the move to New Hollywood.[17] 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 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

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

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

  • Seventies films show a perverse tendency to integrate, in narrative incidental ways, story information and stylistic devices counterproductive to the films' overt and essential narrative purposes.
  • Hollywood filmmakers of the 1970s often situate their film-making practices in between those of classical Hollywood and those of European and Asian art cinema.
  • Seventies films prompt spectator responses more uncertain and discomforting than those of more typical Hollywood cinema.
  • Seventies narratives place an uncommon emphasis on irresolution, particularly at the moment of climax or in epilogues, when more conventional Hollywood movies busy themselves tying up loose ends.
  • Seventies cinema hinders narrative linearity and momentum and scuttles its potential to generate suspense and excitement.[18]

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".[19]

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.

Because of breakthroughs in film technology (e.g. the Panavision Panaflex camera, introduced in 1972), the New Hollywood filmmakers could shoot 35mm camera film in exteriors with relative ease. Since location shooting was cheaper (no sets need to be built) New Hollywood filmmakers rapidly developed the taste for location shooting, resulting in 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.

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 editing (influenced by the works of experimental collage filmmaker Bruce Conner[20][21][22]) to foreshadow the climax of the movie, as well as subtler uses, such as editing to reflect the feeling of frustration in Bonnie and Clyde and the subjectivity of the protagonist in The Graduate.[23]

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.[24] 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."[25] Easy Rider also affected the way studios looked to reach the youth market.[25] 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.[26]

Interpretations on defining the movement

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.[27]

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.[28]

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[29] 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.[30]

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[31] 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.[32]

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".[33]

Criticism

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".[34] 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)."[35]

This era of American cinema was also criticized for its excessive decadence and on-set mishaps.[36][37]

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 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!'[38]

Legacy

The films of Steven Spielberg, Brian De Palma, Martin Scorsese and Francis Ford Coppola influenced both the Poliziotteschi genre films in Italy [39] and a decade later the Cinéma du look movement in France.[40]

American Eccentric Cinema has been framed as influenced by this era.[41] Both traditions have similar themes and narratives of existentialism and the need for human interaction.[41] 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.[41] 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.[41] 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.[41]

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.[42][43]

List of selected important and notable figures of the movement

Actors

Directors

Others

List of selected important and notable films

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

See also

References

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

Bibliography

Retrieved from "https://en.wikipedia.org/enwiki/w/index.php?title=New_Hollywood&oldid=1015729190"