NEW HOLLYWOOD OR THE AMERICAN NEW WAVE
New Hollywood, sometimes referred to as the "American New Wave" refers to a period in American film history from late 1960s until early 1980s
Interim movement in American cinema where a conjunction of forces lead to a measure of freedom in filmmaking
Starts Late 1960s Bonnie and Clyde – Arthur Penn The Graduate – Mike Nichols
Easy Rider – The real start!
Ends 1980 Heaven’s Gate One from The Heart
Lingers on
New generation of young filmmakers came to prominence in United States,
Huge influence the types of films produced, their production and marketing. Challenge to the studio system/old guard.
Like in French New Wave, in New Hollywood the film director, rather than the studio, took on a key authorial role.
No distinct style in "New Hollywood" refers to a period of time and group of Directors/Producers/Actors.
Loosely defined as a movement, but certainly less distinct then the French New Wave or Italian Neo-realism.
New Hollywood borrows from European Cinema heavily, stylistically characterized in part, but not always by non classical narrative norms. Narrative logic and subject matter were often unconventional.
1948 - United States v. Paramount Pictures, Inc., 334 US 131 (1948) (also known as the Hollywood Antitrust Case of 1948, the Paramount Case, the Paramount Decision or the Paramount Decree)
Destroy vertical integrations and studios divest from theater chain ownership
After the demise (slow death) of the studio system and the rise of television, the artistic quality of films and their commercial success was diminished.
The "New Hollywood" is a period of artistic and commercial revival. Youth Market is recapture by young filmmakers.
This, together with the breakdown of the Production Code in 1966 and the new ratings system in 1968 (reflecting growing market segmentation) set the scene for New Hollywood.[8]
Mid to late 1970s as the decline of the art cinema movement as a significant industry force with its peak in 1974–75 with Nashville and Chinatown.
New Hollywood movement marked a significant shift towards independently produced and innovative works by a new wave of directors, but that this shift began to reverse itself when the commercial success of Jaws and Star Wars
The Importance of Roger Corman – Watch Corman’s world.
Important Figures of The New Hollywood
Writers and directors
The issue of whether a specific director belongs to the "New Hollywood" generation is a difficult one to address.
Many of those listed below made either their only films or their most successful films (Bogdanovich or Hal Ashby) in this period.
Others, such as Martin Scorsese, have continued to make acclaimed and successful films. Aside from this, however, "membership" of the New Generation is a blurred line. Initially, thus, many of these filmmakers' earlier productions (such as Stanley Kubrick's Spartacus (1960), Sidney Lumet's 12 Angry Men (1957), and the early Westerns of Sam Peckinpah) did not play a part in informing the New Generation's zeitgeist as, say, Nashville (1975) or Midnight Cowboy (1969).
Woody Allen Robert Altman Hal Ashby Robert Benton Peter Bogdanovich John Boorman Mel Brooks John Cassavetes John Carpenter Michael Cimino Francis Ford Coppola Brian De Palma Clint Eastwood Miloš Forman Bob Fosse William Friedkin Monte Hellman George Roy Hill Dennis Hopper Norman Jewison Philip Kaufman Stanley Kubrick George Lucas Sidney Lumet David Lynch Terrence Malick Paul Mazursky John Milius Paul Newman Mike Nichols Alan J. Pakula Sam Peckinpah Arthur Penn Roman Polanski Sydney Pollack Bob Rafelson Franklin J. Schaffner John Schlesinger Paul Schrader Martin Scorsese Ridley Scott Steven Spielberg Robert Towne John G. Avildsen