When the Movies Mattered

On December 8, 1967, the cover of Time announced the arrival of the “new Hollywood” following the success of Arthur Penn's Bonnie and Clyde (1967), a film that supposedly marked the end of a long-standing box office slump in the motion picture industry. Since then, the phrase “new Hollywood” has come to signify the grittier, more realistic films of Robert Altman, Martin Scorsese, Roman Polanski, Sidney Lumet, and other directors from the late 1960s and 1970s who turned away from the screwball comedies and family romances of mainstream Hollywood to examine the dark underside of American life. Borrowing from French new wave cinema and experimenting with new film techniques, the new Hollywood directors worked with a level of independence and creative freedom not found in the industry before or since. The essays in this book by popular film critics and scholars of film studies offer a thoughtful introduction to the major themes of many of these films, including readings of Michelangelo Antonioni's Zabriskie Point (1970), Alan J. Pakula's Klute (1971), and John Cassavetes's The Killing of a Chinese Bookie (1976

Advertising · Art · Art history · Auteur theory · Box office · Film industry · French New Wave · Hollywood · Independence (probability theory · Literature · Mainstream · Media studies · Movie theater · Political science · Sociology · Cinema and Media Studies · History · Law

• Film Theory

  Open Access•Gary Bettinson•The Year s Work in Critical and…•2021

  Incluir item

• The Last Picture Show

  Open Access•STUART COTTLE, Stuart Leslie Cottle•Journal of American Studies•2022

  Incluir item

• When A Handshake Meant Something

  Open Access•Peter Labuza•Enterprise & Society•2021

  Incluir item