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Hollywood Cinema of the 1970S | University of Warwick 09/27/21 FI322: Hollywood Cinema of the 1970s | University of Warwick FI322: Hollywood Cinema of the 1970s View Online (2015/16) Acland, Charles. n.d. ‘Senses of Success and the Rise of the Blockbuster.’ Film History: An International Journal 25 (1): 11–18. http://0-muse.jhu.edu.pugwash.lib.warwick.ac.uk/journals/film_history/v025/25.1-2.acland. html. Altman, Robert. 2000. ‘Nashville.’ Hollywood, CA: Paramount. https://learningonscreen.ac.uk/ondemand/index.php/prog/00076049?bcast=31021792. Berliner, Todd. 2010. ‘Conceptual Incongruity and The Exorcist.’ In Hollywood Incoherent: Narration in Seventies Cinema, 1st ed. Austin: University of Texas Press. http://www2.warwick.ac.uk/services/library/search/extracts/fi/fi322/berliner_t_2010.pdf. Bernardoni, James. 2002. The New Hollywood: What the Movies Did with the New Freedom of the Seventies. Jefferson, N.C.: McFarland. Blair, Linda, Ellen Burstyn, Max von Sydow, Lee J. Cobb, Kitty Winn, Jack MacGowran, William Friedkin, William Peter Blatty, Warner Bros, and Warner Home Video (Firm). 2005. ‘The Exorcist.’ Burbank, Calif: Warner Home Video. Brereton, Pat. 2005. Hollywood Utopia: Ecology in Contemporary American Cinema. London: Intellect Books. Briggs, Joe Bob. 2003. ‘Who Dat Man? Shaft and the Blaxploitation Genre.’ Cineaste; Spring2003, Vol 28 (2): 24–29. http://0-search.ebscohost.com.pugwash.lib.warwick.ac.uk/login.aspx?direct=true&db=aft& AN=505062208&site=ehost-live. Browne, Nick. 1998. Refiguring American Film Genres: History and Theory. Berkeley, Calif: University of California Press. Brunsdon, Charlotte. 1997. Screen Tastes: Soap Opera to Satellite Dishes. London: Routledge. Carol J. Clover. 1987. ‘Her Body, Himself: Gender in the Slasher Film.’ Representations, no. 20: 187–228. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/2928507?seq=1#page_scan_tab_ contents. Collins, Jim, Radner, Hilary, Collins, Ava, and American Film Institute. 1993a. Film Theory Goes to the Movies. Vol. AFI film readers. London: Routledge. 1/6 09/27/21 FI322: Hollywood Cinema of the 1970s | University of Warwick ———. 1993b. Film Theory Goes to the Movies. Vol. AFI film readers. London: Routledge. Cook, David A. 2002a. Lost Illusions: American Cinema in the Shadow of Watergate and Vietnam, 1970-1979. Vol. History of the American cinema. Berkeley: University of California Press. ———. 2002b. Lost Illusions: American Cinema in the Shadow of Watergate and Vietnam, 1970-1979. Vol. History of the American cinema. Berkeley: University of California Press. ———. 2002c. Lost Illusions: American Cinema in the Shadow of Watergate and Vietnam, 1970-1979. Vol. History of the American cinema. Berkeley: University of California Press. Coppola, Francis Ford, Hackman, Gene, Cazale, John, Garfield, Allen, Forrest, Frederic, Williams, Cindy, Higgins, Michael, et al. 2011. ‘The Conversation.’ [England]: Studio Canal. Coppola, Francis Ford, Lucas, George, Katz, Gloria, Huyck, Willard, Dreyfuss, Richard, Howard, Ron, Le Mat, Paul, et al. 2003. ‘American Graffiti.’ Universal City, CA: Universal Studios. https://learningonscreen.ac.uk/ondemand/index.php/prog/0009E039?bcast=88628096. Corkin, Stanley. 2011. ‘Sex and the City in Decline: Midnight Cowboy (1969) and Klute (1971).’ In Starring New York: Filming the Grime and the Glamour of the Long 1970s. Oxford: Oxford University Press. http://www2.warwick.ac.uk/services/library/search/extracts/fi/fi322/corkin_s_2011.pdf. Corrigan, Tim. 1991. ‘The Commerce of Auteurism.’ In A Cinema without Walls: Movies and Culture after Vietnam. New Brunswick, N.J.: Rutgers University Press. http://www2.warwick.ac.uk/services/library/search/extracts/fi/fi322/corrigan_t_1991.pdf. D. A. Miller. 2007. ‘Cruising.’ Film Quarterly 61 (2): 70–73. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/10.1525/fq.2007.61.2.70. Elsaesser, Thomas, Alexander Horwath, and Noel King. 2004. The Last Great American Picture Show: New Hollywood Cinema in the 1970s. Vol. Film culture in transition. Amsterdam: Amsterdam University Press. http://lib.myilibrary.com/browse/open.asp?id=95894&entityid=https://idp.warwick.ac.uk/id p/shibboleth. Elsaesser, Thomas, Horwath, Alexander, and King, Noel. 2004. The Last Great American Picture Show: New Hollywood Cinema in the 1970s. Vol. Film culture in transition. Amsterdam: Amsterdam University Press. http://lib.myilibrary.com/browse/open.asp?id=95894&entityid=https://idp.warwick.ac.uk/id p/shibboleth. Fredric Jameson. 1977. ‘Class and Allegory in Contemporary Mass Culture: Dog Day Afternoon as a Political Film.’ College English 38 (8): 843–59. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/375957?origin=crossref&seq=1# page_scan_tab_contents. ———. 1979. ‘Reification and Utopia in Mass Culture.’ Social Text, no. 1: 130–48. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/466409. 2/6 09/27/21 FI322: Hollywood Cinema of the 1970s | University of Warwick Friedkin, William, Jerry Weintraub, Al Pacino, Paul Sorvino, Karen Allen, Richard Cox, Don Scardino, et al. 1980. ‘Cruising.’ [U.K.]: Channel 5. Friedman, Lester D. 2007a. American Cinema of the 1970s: Themes and Variations. Vol. Screen decades. New Brunswick, N.J.: Rutgers University Press. http://0-hdl.handle.net.pugwash.lib.warwick.ac.uk/2027/heb.08007.0001.001. ———. 2007b. American Cinema of the 1970s: Themes and Variations. Vol. Screen decades. New Brunswick, N.J.: Rutgers University Press. http://0-hdl.handle.net.pugwash.lib.warwick.ac.uk/2027/heb.08007.0001.001. Geiger, Jeffrey, and Rutsky, R. L. 2005. Film Analysis: A Norton Reader. New York: W.W. Norton. http://www2.warwick.ac.uk/services/library/search/extracts/fi/fi322/neale_s_2005.pdf. Gledhill, Christine. 1998. ‘Klute 2: Feminism and Klute.’ In Women in Film Noir, Rev. and expanded ed. London: British Film Institute. http://www2.warwick.ac.uk/services/library/search/extracts/fi/fi322/gledhill_c_1998.pdf. Grant, Barry Keith, and Sharrett, Christopher. 2004. Planks of Reason: Essays on the Horror Film. Rev. ed. Lanham, Md: Scarecrow Press. Hall, Sheldon, and Neale, Stephen. 2010. Epics, Spectacles, and Blockbusters: A Hollywood History. Vol. Contemporary approaches to film and television series. Detroit, Mich: Wayne State University Press. Hoffman, Dustin, John Schlesinger, John Barry, Jerome Hellman, Jon Voight, James Leo Herlihy, United Artists Corporation, and MGM Home Entertainment Inc. 2001. ‘Midnight Cowboy.’ [Great Britain]: MGM Home Entertainment. Horwath, Alexander, Noel King, and Thomas Elsaesser. 2004a. The Last Great American Picture Show: New Hollywood Cinema in the 1970s. Amsterdam: Amsterdam University Press. ———. 2004b. The Last Great American Picture Show: New Hollywood Cinema in the 1970s . Amsterdam: Amsterdam University Press. ‘Inside Jaws, A Filmumentary by @jamieswb (2013).’ n.d. http://vimeo.com/68400837. Irving, Amy, Paul Monash, Brian De Palma, Sissy Spacek, John Travolta, Piper Laurie, Stephen King, MGM Home Entertainment Inc, and Twentieth Century Fox Home Entertainment, Inc. 2009. ‘Carrie.’ [Santa Monica, Calif.]: MGM Home Entertainment. Jameson, Fredric, and British Film Institute. 1992. The Geopolitical Aesthetic: Cinema and Space in the World System. Bloomington, Ind: Indiana University Press. Johnson, Spencer. 1999. Who Moved My Cheese?: An Amazing Way to Deal with Change in Your Work and in Your Life. London: Vermilion. Julie Turnock. n.d. ‘The ILM Version: Recent Digital Effects and the Aesthetics of 1970s Cinematography.’ Film History: An International Journal 24 (2): 158–68. http://0-muse.jhu.edu.pugwash.lib.warwick.ac.uk/journals/film_history/v024/24.2.turnock.h 3/6 09/27/21 FI322: Hollywood Cinema of the 1970s | University of Warwick tml. Kaplan, E. Ann. 1998. Women in Film Noir. Rev. and expanded ed. London: British Film Institute. Kermode, Mark. 1998. ‘Lucifer Rising.’ Sight and Sound 8 (July): 6–11. http://0-fiaf.chadwyck.com.pugwash.lib.warwick.ac.uk/fulltext/indexFullText.do?id=004/02 22516&area=index&resultNum=2&queryId=../session/1427980954_24787&QueryIndex=q uick&fromHistory=search&activeMultiResults=index&jid=006/0000306. Lev, Peter. 2000. American Films of the ’70s: Conflicting Visions. 1st ed. Austin, TX: University of Texas Press. Lev, Peter. 2000a. American Films of the ’70s: Conflicting Visions. 1st ed. Austin, TX: University of Texas Press. ———. 2000b. American Films of the ’70s: Conflicting Visions. 1st ed. Austin, TX: University of Texas Press. Lewis, Jon. 1998. The New American Cinema. Durham, N.C.: Duke University Press. Lumet, Sidney, Martin Bregman, Martin Elfand, Frank R. Pierson, Victor J. Kemper, Al Pacino, John Cazale, Charles Durning, Warner Home Video (Firm), and Artists Entertainment Complex (Firm). 2009. ‘Dog Day Afternoon.’ [UK]: Warner Home Video. MacCabe, C. 1976. ‘Theory and Film: Principles of Realism and Pleasure.’ Screen 17 (3): 7–28. https://doi.org/10.1093/screen/17.3.7. Massood, Paula J. 1999. ‘An Aesthetic Appropriate to Conditions: Killer of Sheep, (Neo)Realism, and the Documentary Impulse.’ Wide Angle 21 (4): 20–41. https://doi.org/10.1353/wan.2004.0004. Morrison, James. 2010. Hollywood Reborn: Movie Stars of the 1970s. Vol. Star decades : American culture/American cinema. New Brunswick, N.J.: Rutgers University Press. Nichols, Bill. 1985. Movies and Methods: Vol.2: An Anthology. Berkeley, Calif: University of California Press. Noël Carroll. 1982. ‘The Future of Allusion: Hollywood in the Seventies (And Beyond).’ October 20: 51–81. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/778606. Pakula, Alan J. 2002. ‘Klute.’ Burbank, CA.: Warner Home Video.
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