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The Historical Film in the Era of New Hollywood, 1967-1980. Symmons, Tom

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The Historical Film in the Era of New Hollywood, 1967-1980. Symmons, Tom The Historical Film in the Era of New Hollywood, 1967-1980. Symmons, Tom For additional information about this publication click this link. http://qmro.qmul.ac.uk/jspui/handle/123456789/8630 Information about this research object was correct at the time of download; we occasionally make corrections to records, please therefore check the published record when citing. For more information contact [email protected] 1 The Historical Film in the Era of New Hollywood, 1967-1980 Tom Symmons PhD 1 2 Abstract This thesis is the first sustained analysis of historical films made in the New Hollywood era (1967-80). It explores the mediation of the era’s social, cultural and ideological concerns in feature films that represent key periods in American history. The terms New Hollywood and the historical film are utilised with revisionist aims. As well as considering the new wave of ‘auteur’ cinema synonymous with the New Hollywood, the thesis demonstrates the diverse range of films produced in this era. Similarly, it rejects the boundary drawing practiced by many studies of history and film, and submits that any film set in the past can be used to explore the values, assumptions and ideological conflicts of the present. Furthermore, the thesis contends that analysis of historical films allows us to understand how audiences of a given period engage with the past in emotional, moral and aesthetic terms. The method and approach of this research is robust and wide reaching, providing evidence based analysis of each film’s production and reception, as well as close readings of individual texts. The primary sources utilised include production files, draft screenplays, film reviews, press interviews and other forms of publicity. The vast majority of new Hollywood historical films are set in the recent past, and the six case studies undertaken in this thesis include a broad section of the era’s significant historical films: The Day of the Locust (1975), a drama centred on 1930s Hollywood; Sounder (1972), a story of Depression-era African American sharecroppers in the deep South; The Dirty Dozen (1967), a Second World War combat drama; The Way We Were (1973), a romantic film bridging the radical 1930s and the McCarthy ‘witchhunts’ of the 1950s; and American Graffiti (1973) and Grease (1978), which look back on the early rock and roll era of the late 1950s and early 1960s with nostalgia. 3 Contents ! List of figures! 5 Acknowledgements ! 6 ! Introduction! The historical film: discourse and definition! 7 The New Hollywood and the historical film! 17 Chapter 1: The ‘New Wave’ and ‘Old Hollywood’: The Day of the Locust (1975), ‘Movies about the Movies’ and the Generational Divide! 31 Hollywood’s post-war transformation, the rise of the ‘youth’ film and the ‘movie movie’ wave! 33 The Day of the Locust (1975): Issues of adaptation! 48 Images of authenticity, illusion and disaster! 55 Selling the ‘illusion’ and the divided response! 64 Conclusion! 71 Chapter 2: ‘Endorsed by Everybody With the Exception of God’: Sounder (1972), the Black Historical Film and ‘Blaxploitation’! 73 Hollywood and the representation of African Americans! 75 Universalising the black historical experience! 88 Realism and myth! 96 The ‘blaxploitation’ boom and the marketing and reception of Sounder! 106 Conclusion! 124 Chapter 3: ‘Having Our Cake and Eating it’: The Dirty Dozen (1967), the World War II Combat Film and Vietnam! 126 Talking about the war! 129 4 Fighting for freedom! 142 Defusing the meaning ! 157 Conclusion! 169 Chapter 4: ‘Remembering the Red Scare’: Nostalgia, Star Power and the Hollywood Blacklist in The Way We Were (1973)! 173 The production of a ‘political’ star vehicle! 176 The politics of style and the focus of the ‘look’! 191 A flawed success: the marketing and reception of The Way We Were! 205 Conclusion! 214 Chapter 5: American Graffiti (1973) and Grease (1978): the ‘Fifties’ as Myth and Comment ! 218 The 1970s nostalgia boom! 220 American Graffiti: the nostalgia film as ‘collective spiritual autobiography’! 222 Grease: the making and marketing of a 1970s ‘rock’ musical! 236 Parody and hybridity in the 1950s teen romance! 241 Critical reception and the assimilation of the ‘greaser’ into the cultural mainstream! 245 Conclusion! 261 Conclusion! 264 Bibliography ! 273 Filmography!! 285 ! ! ! 5 Figures Fig 1.1 Chaotic scenes outside the 1968 Democratic convention in Chicago! 37 Fig 1.2 Bonnie and Clyde (1967)! 41 Fig 1.3 Collapsing soundstage in the The Day of the Locust (1975)! 58 Fig 1.4 The Ennis House! 61 Fig 2.1 Super Fly (1972) and Sounder (1972) promotional posters! 109 Fig 3.1 Green Berets (1968) promotional poster! 129 Fig 3.2 The Dirty Dozen (1967) promotional poster! 158 Fig 3.3 Sketched idea for promotional poster for the The Dirty Dozen! 159 Fig 4.1 Katie addresses the ‘Peace’ strike! 193 Fig 4.2 A more plausible love interest! 195 Fig 4.3 Radical chic: Angela Davis and Barbra Streisand! 203 Fig 4.4 Promotional poster for The Way We Were (1973)! 207 Fig 5.1 Mel’s drive-in (American Graffiti, 1973)! 223 Fig 5.2 Echoes of Saturday Night Fever (1977)! 243 Fig 5.3 Stockard Channing as Rizzo! 253 6 Acknowledgements Thanks to Mark Glancy, Guy Westwell, Matt Jacobsen, James Rafferty, Ned Comstock at the Cinematic Arts Library (USC), Barbara Hall at the Margaret Herrick Library (AMPAS), and Jonny Davies at the British Film Institute Library. Special thanks to Laura, Chloe, and all my family and friends - your patience and support is much appreciated. This research was funded by the Arts and Humanities Research Council. 7 Introduction The past and its representation has an ineluctable relationship with the present, of which the Hollywood historical film is perhaps its most conspicuous expression. Of course, for the American film industry, that a historical film resonates with the values, attitudes and concerns of contemporary film-goers is a commercial imperative, as relevancy underpins success. As such, the past according to Hollywood represents a rich and compelling field of enquiry for the cultural historian. Moreover, an intrinsic value of historical films is that distortion, anachronism, partisanship and oversimplification are amongst the means by which these commercial ends are achieved. Indeed, it is precisely these elements, which for many traditional historians count as some of the major offenses of the medium, that make them such informative historical documents, not about the events they represent, but about the period in which they were made. Proceeding from this premise, this thesis investigates the different ways in which American ‘historical films’ produced between 1967 and 1980, an era commonly referred to as the ‘New Hollywood’, mediated the concerns of the present. This was a period of declining and fragmenting audiences, crisis and re-adjustment within the film industry, and conflict and turbulence within wider society, all factors that gave rise to the diversity of the era’s cinema, which ranged from traditional representations to stylistically bold genre revisionism, as well as movies variously configured in an effort to recapture cinema’s lost mass audience. The past, as it was projected on to the nation’s screens during this time, was similarly varied, and as a site of both escapist nostalgia and critical reflection, historical films expressed the cultural values, assumptions and contradictions of the period in complex and compelling ways. The meanings and pleasures of the New Hollywood historical film, and how they mediated the concerns of the present is examined across six key case studies. 8 Scholarly research into the filmic representation of history is wide-ranging, and includes books that focus upon the conceptual and methodological approach to historical filmmaking with reference to a varied and diverse range of historical films, as well as on specific generic ‘types’ (for example, the Second World War combat movie), historical periods (‘the Tudors’), national cinemas (the British historical film), eras of filmmaking (the contemporary Hollywood historical film), historical themes (slavery), and individual figures (Elizabeth I). By critically surveying this discourse, this introductory chapter will set out the approach and expansive definition of the ‘historical film’ utilised by this study.1 Likewise, with reference to recent scholarship on the ‘New Hollywood’, a broader and more inclusive definition of this term will be set out, which reflects the true range and scope of the period’s filmmaking. Finally, the method of this thesis, which combines evidence-based investigation with close textual analysis, is explained in depth, followed by a description of each chapter. The historical film: discourse and definition Central to the development of the debate over the contribution historical films make to our historical understanding, was the creation of the academic journal Film and History in 1971, which advocated the use of film in historical research or as a pedagogical tool. Whilst the main focus of discussion within the ‘film and history’ movement was the use of actuality footage or documentary film as a primary source, the representation of history in feature films was also considered an important area of inquiry, particularly with regards to issues of accuracy and authenticity. Informing this discussion, moreover, was the recognition that film was inescapably shaped by its historical ‘moment’ of production, or, in other words, was understood to ‘reflect’ the social and political 1 It is important to note this term is primarily a critical classification, and is not typically used in commercial, industrial or journalistic discourses on the historical film. 9 concerns of the period in which it is made.2 The idea of film as a ‘mirror’ of society was posited in From Caligari to Hitler (1947), Siegfried Kracauer’s seminal study of 1930s German cinema. Kraucauer’s analysis was subsequently criticised for its reliance upon speculative social psychology and its lack of historical rigour, but nonetheless established a key foundational concept in this field of critical inquiry.
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