Film I-Spring 2020 Plague Work Unit: New Hollywood Just Like We Did

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Film I-Spring 2020 Plague Work Unit: New Hollywood Just like we did with the French New Wave, we’re going to try to take a look at one more film movement this year: the New Hollywood movement. 1. What is New Hollywood? Watch the following mini documentary online explaining the direct line from Italian Neorealism to the French New Wave to New Hollywood to modern independent cinema: https://www.youtube.com/watch?v=opQC45irmN8 2. Watching a New Hollywood film Watch the film The Graduate from 1967 directed by Mike Nichols. It can be watched or downloaded at: https://stlps- my.sharepoint.com/:v:/g/personal/jchamber4910_slps_org/EWjwYfyTA8xBkOkD_n2OGBcBI 9ifHOVw2AM0GT2T4N6qTQ?e=5IysPU 3. Writing comparatively You have two options! Do either one of the following two: Option 1: Choose any other American film made since 1967 that you can use to do a comparative study with The Graduate. This might be a film that shares themes with The Graduate or shows similar stylistic choices or one that you can analyze through a similar lens. Use that main area that they share to analyze the two films in comparison with each other. The final product should be two pages typed and should be uploaded to TurnItIn by Friday, May 15th. or Option 2: Watch Bonnie and Clyde from 1967 directed by Arthur Penn. The Graduate and Bonnie and Clyde were made at roughly the same time. Analyze them both in comparison with each other, both in terms of style and filmmaking choices and in terms of historical/sociocultural context and how they reflect the United States in the late 1960s. The final product should be two pages typed and should be uploaded to TurnItIn by Friday, May 15th. Bonnie and Clyde can be watched or downloaded at: https://stlps-my.sharepoint.com/:v:/g/personal/jchamber4910_slps_org/EblO1fOss- 5EgNBN3gV6S0EBHXG6G-261J7PC__F6wUMpg?e=n4ypz7 4. Filmmaking You are going to create another solo film, and once again the final product should be between two and three minutes long and can be filmed and edited with a phone or whatever is available to you (landscape filming, not vertical) and then shared in some format with Mr. Chambers (by email or Google drive, etc.). Just like the filmmakers of the New Hollywood movement were exploring new ideas and rejecting the constraints of the old studio system, there is no specific topic or style assigned for this film. Use your imagination. It is wide open, as long as you keep it PG-13 or lower and keep it under three minutes. This is due to Mr. Chambers no later than Wednesday, May 20th. .

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Oral History Interview Jennifer Bartlett, 2011 June 3-4
Oral history interview Jennifer Bartlett, 2011 June 3-4 This interview is part of the Elizabeth Murray Oral History of Women in the Visual Arts Project, funded by the A G Foundation. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a recorded interview with Jennifer Bartlett on June 3 and 4, 2011 . The interview took place in Brooklyn, New York, and was conducted by James McElhinney for the Archives of American Art, Smithsonian Institution. This interview is part of the Elizabeth Murray Oral History of Women in the Visual Arts Project. Jennifer Bartlett has reviewed the transcript. Her corrections and emendations appear below in brackets with initials. This transcript has been lightly edited for readability by the Archives of American Art. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview JAMES MCELHINNEY: This is James McElhinney speaking with Jennifer Bartlett at her home and studio in Brooklyn on Friday June the 3rd, 2011. Good morning. JENNIFER BARTLETT: Good morning. MR. MCELHINNEY: Where were you born? MS. BARTLETT: Long Beach, California. MR. MCELHINNEY: Really? MS. BARTLETT: [Laughs.] Yes. MR. MCELHINNEY: And what was your childhood like? Were you exposed to art at an early age? MS. BARTLETT: There—we—there was some art books at home that I would look at, but not a lot. And I think probably bought by my mother. My father was a big—feeling that artists were parasites on society—[laughs]— and you know the rest.
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