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Ecocriticism and the Environmental Sensibility of New Hollywood Transactions with the world: ecocriticism and the environmental sensibility of new Hollywood Book Creative Commons: Attribution-Noncommercial-No Derivative Works 4.0 Open Access O'Brien, A. (2016) Transactions with the world: ecocriticism and the environmental sensibility of new Hollywood. Berghahn Books, Oxford, pp228. ISBN 9781785330001 Available at http://centaur.reading.ac.uk/67438/ It is advisable to refer to the publisher’s version if you intend to cite from the work. See Guidance on citing . Publisher: Berghahn Books All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading’s research outputs online TRANSACTIONS WITH THE WORLD This open access edition has been made available under a CC BY-NC-ND 4.0 license, thanks to the support of Knowledge Unlatched. This open access edition has been made available under a CC BY-NC-ND 4.0 license, thanks to the support of Knowledge Unlatched. TRANSACTIONS WITH THE WORLD ECOCRITICISM AND THE ENVIRONMENTAL SENSIBILITY OF NEW HOLLYWOOD BY ADAM O’BRIEN This open access edition has been made available under a CC BY-NC-ND 4.0 license, thanks to the support of Knowledge Unlatched. Published in 2016 by Berghahn Books www.berghahnbooks.com © 2016 Adam O’Brien Open access ebook edition published in 2019 All rights reserved. Except for the quotation of short passages for the purposes of criticism and review, no part of this book may be reproduced in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage and retrieval system now known or to be invented, without written permission of the publisher. Library of Congress Cataloging-in-Publication Data O’Brien, Adam, 1982- Transactions with the world: ecocriticism and the environmental sensibility of new Hollywood / Adam O’Brien. pages cm Includes bibliographical references and index. ISBN 978-1-78533-000-1 (hardback: alk. paper) -- ISBN 978-1-78533-001-8 (ebook) 1. Environmentalism in motion pictures. 2. Ecology in motion pictures. 3. Environmental protection and motion pictures. 4. Motion pictures--United States--History--20th century. I. Title. PN1995.9.E78O38 2016 791.43’6553--dc23 2015035310 British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library ISBN 978-1-78533-000-1 hardback ISBN 978-1-78920-468-1 open access ebook An electronic version of this book is freely available thanks to the support of libraries working with Knowledge Unlatched. KU is a collaborative initiative designed to make high-quality books Open Access for the public good. More information about the initiative and links to the Open Access version can be found at knowledgeunlatched.org. This work is published subject to a Creative Commons Attribution 4.0 Unported License. license. The terms of the license can be found at http://creativecommons.org/licenses/by/4.0/. For uses beyond those covered in the license contact Berghahn Books. This open access edition has been made available under a CC BY-NC-ND 4.0 license, thanks to the support of Knowledge Unlatched. Contents List of Illustrations vi Acknowledgements vii Prologue: A Typical Love Scene viii .............................................................................................................................................................................................. Introduction 1 .............................................................................................................................................................................................. 1. Four Faces of New Hollywood 19 .............................................................................................................................................................................................. 2. Resisting Abstraction 40 .............................................................................................................................................................................................. 3. Rooting in and Lighting out: New Hollywood and Genre 76 .............................................................................................................................................................................................. 4. Regional Frames 116 .............................................................................................................................................................................................. 5. Conditions, Technologies and Presence 157 .............................................................................................................................................................................................. Conclusion: Coming to Terms with Mr Meek 200 .............................................................................................................................................................................................. Index 207 This open access edition has been made available under a CC BY-NC-ND 4.0 license, thanks to the support of Knowledge Unlatched. Illustrations 0.1 Falling in love: Harold and Maude (Paramount Pictures) x 0.2 Resisting the setting: Mean Streets (Warner Bros.) xii 0.3 ‘The tree makes it nice’: Badlands (Warner Bros.) xiv 2.1 The flag as thing: Nashville (ABC / Paramount Pictures) 53 2.2 The machine in the garden: The Godfather (Paramount Pictures) 66 2.3 The ‘real’ Kit: Badlands (Warner Bros.) 70 3.1 Symbolically conquering the environment: Shane (Paramount Pictures) 88 3.2 Indeterminate boundaries: The Wild Bunch (Warner Bros. / Seven Arts) 91 3.3 ‘A mobile organicity’: Bonnie and Clyde (Warner Bros. / Seven Arts) 102 3.4 Rooting in: Vanishing Point (Cupid Productions / Twentieth Century- Fox) 109 4.1 Revolting surroundings: The Texas Chain Saw Massacre (Vortex) 133 4.2 More than a Texas indicator: The Texas Chain Saw Massacre (Vortex) 136 4.3 A sentimental education: Cockfighter (New World Pictures) 149 4.4 ‘He’s come a long way’: The Last Detail (Acrobat / Columbia Pictures) 152 5.1 A telling location: The Last Picture Show (Columbia Pictures / BBS Productions) 167 5.2 A film present in the world: The Last Movie (Alta-Light) 174 5.3 Hopeless orientation: McCabe & Mrs. Miller (David Foster Productions / Warner Bros.) 179 5.4 A zoom in search of an object: The Conversation (American Zoetrope / Paramount Pictures) 188 This open access edition has been made available under a CC BY-NC-ND 4.0 license, thanks to the support of Knowledge Unlatched. Acknowledgements Initial thanks must go to the Arts and Humanities Research Council, who funded the project on which this book is based. Portions of Chapter Two appeared in ‘Regarding Things in Nashville and The Exterminating Angel: Another Path for Eco Film Criticism’, ISLE: Interdisciplinary Studies in Literature and the Environment 20(9), Spring 2013; of Chapter Four in ‘Regional Horizons in The Last Detail’, Movie: A Journal of Film Criticism 4, 2013; and of Chapter Five in ‘When a Film Remembers its Filming: The New Hollywood Zoom’, Journal of Media Practice 13(3), 2012. I am grateful to these journals for permission to reproduce the mate- rial in this book and to their editors for the generous feedback they provided. My most straightforward thanks go to Kristian Moen, whose guidance is always patient, challenging and supportive. Other members of staff throughout the Department of Film at the University of Bristol – Angela Piccini, Alex Clayton and Jacqueline Maingard – were constantly encouraging, in terms of both my research and my teaching. Sarah Street and Peter Krämer offered some valuable pointers and warnings, as did all three anonymous readers. I would also like to thank the University of Bristol’s School of Arts, who sup- ported my trip to the Margaret Herrick Library in Los Angeles. At the library, Marisa Duron was especially helpful and generous with her time. Finally, four friends cast their critical eyes over my writing: Tom Sperlinger, Michael Malay, Rachel Stenner and Steven Lovatt. My parents have been constantly supportive of my studies, even when time spent indoors watching films should so obviously have been spent outdoors being helpful. (For them, my interest in ecocriticism is probably more than a little ironic…) The Deightons, the Flanagans, the Bells, the Hartls and the Sammuts have all helped me along in one way or another. Since beginning this project, two wonderful people – Ruth and Joseph – have changed my life quite considerably. There is only one person to thank for this: Rebecca. Her love for (and patience with) me and our children has helped me more than anything. The following work is dedicated to her. This open access edition has been made available under a CC BY-NC-ND 4.0 license, thanks to the support of Knowledge Unlatched. PROLOGUE A Typical Love Scene André Bazin, in a passage celebrating Jean Renoir’s The River (1951), explains his own definition of expressionism in cinema. According to Bazin, expressionism is the ‘explicit imposition of technique on the meaning of the film’, a style and a set of assumptions from which, explains Bazin, Renoir distanced himself. To illustrate his point, Bazin invites the reader to imagine a typical love scene: The impression which the director communicates to us
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