New Hollywood Cinema

Author: Geoff King
Publisher: I.B.Tauris
ISBN: 9781860647505
Size: 23.15 MB
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New Hollywood Cinema from the Author: Geoff King. This title looks at Hollywood from the Renaissance of the 1960s to the current dominance of the corporate blockbuster. It discusses diverse films, focusing on the interactions between different levels - including the impact on Hollywood of television and advertising.

Storytelling In The New Hollywood

Author: Kristin Thompson
Publisher: Harvard University Press
ISBN: 9780674839755
Size: 77.43 MB
Format: PDF
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Storytelling In The New Hollywood from the Author: Kristin Thompson. Drawing on a wide range of films from the 1920s to the 1990s--from Keaton's "Our Hospitality" to "Casablanca" to "Terminator 2," Kristin Thompson offers the first in-depth analysis of Hollywood's storytelling techniques and how they are used to make complex, easily comprehensible, entertaining films. Thompson then demonstrates in detail how classical narrative techniques work in ten box-office and critical successes made since the New Hollywood began in the 1970s including "Tootsie," "The Silence of the Lambs, Parenthood, Alien," and "Hannah and Her Sisters."

The New Hollywood

Author: Peter KrŠmer
Publisher: Columbia University Press
ISBN: 0231850050
Size: 68.68 MB
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The New Hollywood from the Author: Peter KrŠmer. On December 8, 1967 Time magazine put Bonnie and Clyde on its cover and announced, "The New Cinema: Violence … Sex … Art." The following decade has long been celebrated as a golden age in American film history. In this innovative study, Peter Krämer offers a systematic discussion of the biggest hits of the period (including The Graduate [1967], The Exorcist [1973] and Jaws [1975]). He relates the distinctive features of these hits to changes in the film industry, in its audiences and in American society at large.

The New Hollywood

Author: James Bernardoni
Publisher: McFarland
ISBN: 9780786483075
Size: 35.92 MB
Format: PDF, Kindle
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The New Hollywood from the Author: James Bernardoni. The "Old Hollywood" of studios, stars, and house directors began to break up in the 1960s. Newly independent directors freed from budgetary and aesthetic limitations imposed by studio moguls were the "New Hollywood." Directors could develop their own styles, hire whom they wanted, and make movies that would dazzle jaded audiences. Hollywood would never be the same ... What happened? The author looks at the productions of the "New Hollywood" to answer that question. Scene by scene analyses of some of the 70s most significant films (i. e., Apocalypse Now, Taxi Driver, M. A. S. H., Annie Hall, and American Graffiti) assess both the successes and failures of the New Hollywood.

New Hollywood

Author: Renate Hehr
Publisher: Edition Axel Menges
ISBN: 3930698943
Size: 73.98 MB
Format: PDF, ePub, Mobi
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New Hollywood from the Author: Renate Hehr. The surprising success of Bonnie and Clyde, The Graduate and Easy Rider in the late sixties marks a turning-point in the history of the American cinema, as these are films that differ in their style fundamentally from the traditional Hollywood films. They revised the traditional genre formulae and overturned the rules of classical narrative structure, but they were also aimed at a young audience influenced by alternative culture, a group that the big studios had ignored until then. The American film industry, which was in financial crisis and in a phase of artistic stagnation in the sixties because it had tried to meet increasing competition from television by producing blockbusters, started to think again, and became more receptive to new ideas. A period of artistic renewal began, of a kind that had never been possible before in America on such a radical scale. The first wave of New Hollywood was starting to die down in 1971, as the films were often too experimental, too self-referential and too alien for a mass audience, and the market for the limited target group of a young audience interested in culture was quickly saturated. But important stimuli emerged, and made it possible for a series of filmmakers like Robert Altman, Arthur Penn, Mike Nichols, Alan Pakula, Sydney Pollack, Stanley Kubrick, Sam Peckinpah, Paul Mazursky, Hal Ashby and ultimately an exceptional figure like Woody Allen to establish themselves permanently. They were joined in the seventies by the younger generation of so-called film prodigies like Francis Ford Coppola, Peter Bogdanovich, William Friedkin, Martin Scorsese, Steven Spielberg, Brian De Palma, Paul Schrader or George Lucas. They all represented the liberation of the director from the dictates of the studio, the acquisition of a right to have individual artistic handwriting and the era of the director as superstar.

New Hollywood Violence

Author: Steven Jay Schneider
Publisher: Manchester University Press
ISBN: 9780719067235
Size: 40.66 MB
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New Hollywood Violence from the Author: Steven Jay Schneider. Exploring the depiction of violence and related issues in Hollywood productions, this book focuses on the motivations and cultural politics of violence on the big screen, as well as its effects on viewers and society as a whole.

The Role Of Authorship During The Shift Towards A New Hollywood

Author: Andreas Schwarz
Publisher: GRIN Verlag
ISBN: 3656098050
Size: 30.97 MB
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The Role Of Authorship During The Shift Towards A New Hollywood from the Author: Andreas Schwarz. Bachelor Thesis from the year 2011 in the subject American Studies - Culture and Applied Geography, grade: 1,3, Free University of Berlin (John-F.-Kennedy-Institut), language: English, abstract: In film studies, the term New Hollywood is used in non-conclusive and heterogeneous ways. The discourse does not make explicit what the real New was. However, there appears to be a general consensus as to the actual time frame in which a bigger change happened in Hollywood that stirred up the system - starting in 1967. Scholars have been trying to explain the proclaimed change of the Classical Hollywood Cinema from different perspectives, which, depending on author and release date, point out economical, production-related, societal, or creative-aesthetic revolutions as responsible factors. Coming from the film critic's angle towards New Hollywood, the most important factor in the process was the development and success of the American auteur. The auteur theory has been appointed as such by film critic Andrew Sarris, who based his assumptions mainly on the theoretical conclusions drawn by the writers of the French Cahiers du Cinema. Taking the auteur approach to explain aspects of the New Hollywood, some scholars pinpoint the era down to the years of 1967-1976. This national cinematography is hardly discussed consensually within its own historiographical discourse or the boundaries of text analysis. I want to specifically trace the role of the idea of an auteur cinema within the Hollywood industry during this change, and thereby further disentangle the complex relationship of commerce and authorship. My first chapter will therefore be employed with the theoretical background and the discourse around authorship in general, film in particular. Eventually this will lead to a clear idea about the specifics and limitations of the auteur theory discourse. The second chapter will then be occupied with the historical change of the Hollywood system in the sixties and seventies of

The New Hollywood

Author: Jim Hillier
Publisher: Continuum International Publishing Group
ISBN:
Size: 73.44 MB
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The New Hollywood from the Author: Jim Hillier. The studio system, which had dominated Hollywood for more than half a century, finally fell apart in the late 1960s. The uncertainty that followed opened the way for independent producers, many of whom were already specializing in exploitation movies with titles like Slumber Party Massacre, which were targeted at the 12-to-20-year-old age group. These films, with their starvation budgets and impossible shooting schedules, gave a start to a number of notable directors. Others were meanwhile trying their luck in television or shooting experimental movies. The first post-studio directors, the so-called "movie brats" (Spielberg, Lucas, Coppola, Scorsese, and De Palma) are now famous. Behind them has come a new generation of directors, often controversial, who now make some of Hollywood's most interesting pictures. This book, based on in-depth interviews, looks at the experiences of some thirty of them in getting established and keeping afloat in the new Hollywood. Drawing upon information gathered in interviews more often than quoting directly from them, Jim Hillier has produced an absorbing account from the filmmakers' viewpoint of the business of filmmaking. Some of the new generation of directors have already had hits such as Terminator (James Cameron), The Silence of the Lambs (Jonathan Demme), Gremlins (Joe Dante), Sleeping with the Enemy (Joseph Ruben), and Look Who's Talking (Amy Heckerling). Others continue to make inexpensive horror movies. Yet others divide their time between cinema and television, among them Michael Mann, who directed Manhunter for the cinema and produced Miami Vice and Crime Story for television, and David Lynch of Blue Velvet, Wild at Heart, and Twin Peaks. Among those included are Bill Duke (A Rage in Harlem), Mike Figgis (Internal Affairs), Randa Haines (Children of a Lesser God), Tim Hunter (River's Edge), Spike Lee (Do the Right Thing), Jim McBride (The Big Easy), and Susan Seidelman (Desperately Seeking Susan). Today, the name Hollywood conjures up not simply tinseltown itself but the whole of the American film industry. The New Hollywood bears witness to the diversity and vigor still remaining in an industry that over the past twenty years has become more dispersed, less rigidly organized - and much more costly. Jim Hillier's book provides the essential background to understanding the economic and creative forces that will carry the American cinema into the 21st century.

The Last Great American Picture Show

Author: Alexander Horwath
Publisher: Amsterdam University Press
ISBN: 9053566317
Size: 43.68 MB
Format: PDF, ePub
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The Last Great American Picture Show from the Author: Alexander Horwath. This publication is a major evaluation of the 1970s American cinema, including cult film directors such as Bogdanovich Altman and Peckinpah.