The New American Cinema
This collection of essays provides the first comprehensive survey of Hollywood and independent films from the mid-sixties to the present. Deliberately eclectic and panoramic, The New American Cinema brings together thirteen leading film scholars who present a range of theoretical, critical, and historical perspectives on this rich and pivotal era in American cinema.
The essays are divided into three sections: "Movies and Money," "Cinema and Culture," and "Independents and Independence." The first section focuses on the economics of the industry and analyzes the connection between the film business and the finished product. Topics include a look at the economic conditions that made the seventies' auteur renaissance possible, the distribution of studio and independent films, and the recent spate of mergers and acquisitions that have come to characterize the new Hollywood. The second part of The New American Cinema deals with the political and cultural significance of war and Vietnam films (Platoon, Apocalypse Now, Born on the Fourth of July); "male rampage" films (Rambo, Lethal Weapon, Die Hard); women's psychothrillers (The Silence of the Lambs); special effects pictures (2001: A Space Odyssey, Star Wars); and historical re-presentations (Oliver Stone's JFK). The final section casts a keen eye on films produced and exhibited outside the commercial mainstream, examining the financial realities of "indie" films; the influence of independent filmmaker John Cassavetes on Coppola, Altman, and Scorsese; the stereotyping of African Americans in mainstream cinema; and the films of independent women filmmakers.
What people are saying - Write a review
We haven't found any reviews in the usual places.
Auteurs and the New Hollywood Timothy Corrigan
Hollywood in the Corporate Era Jon Lewis
A Rose Is a Rose? Real Women and a Lost War Tania Modleski
Race Class and Gender in the Male Rampage
Female Investigation and Male Performativity in
Oliver Stones JFK
action actors American artistic assassination audience auteur authority became become called camera Cassavetes characters cinema close comes contemporary Coppola critical culture deal developed directed directors discussion distribution early effects example executive experience expression Faces female fiction figure film film's filmmakers finally force gender Hard Hollywood identity important independent industry interest John less look major male means million move movie narrative noted offer Oliver Stone performance picture play political position present Press production relation release role scene screen seems sense share shot shows social space Star Steven Spielberg story studio success suggests television theaters tion turn Turner United University Variety Vietnam visual Warner Warner Bros Weapon woman women York