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Easy Rider and The Hollywood Renaissance

Easy Rider and The Hollywood Renaissance. The Hollywood Renaissance Defined. Late-1960s to mid- to late-1970s Also called “ The New Hollywood ” Characterized by studio production/distribution of significant number of films seen as innovative in content and style

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Easy Rider and The Hollywood Renaissance

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  1. Easy Rider and The Hollywood Renaissance

  2. The Hollywood Renaissance Defined • Late-1960s to mid- to late-1970s • Also called “The New Hollywood” • Characterized by studio production/distribution of significant number of films seen as innovative in content and style • Social context of frequent social upheavals (Vietnam protests, civil rights movements, student protests on college campuses, assassination of political and civil rights figures) that led to wide-spread questioning of “American” values and identity. • Made by directors with film school training and thus familiarity with film technique, history styles and theory (Coppola, Malick, Milius, Scorsese, Schrader, Lucas, Spielberg)

  3. Style and Content of HR Films • Alienation/rebellion of young that frequently ends in death or disillusionment • Frank depictions of sex, violence and drug use • Political and social critique • “It is possible, at the risk of some simplification, to divide the social context of the Hollywood Renaissance into two main currents. One . . . celebrates aspects of 1960s rebellion. The other explores or manifest elements of a darker mood in which alienation leads toward fear and disillusion” (Geoff King. New Hollywood Cinema: An Introduction. 18). • Narratives that incorporated some characteristics of art cinema • Handheld, moving camera • Jump cuts

  4. Selected Films • Alice Doesn’t Live Here Anymore (Scorsese 1974) • Alice’s Restaurant (Penn 1969) • American Graffiti (Lucas 1974) • Badlands (Malick 1974) • Bonnie and Clyde (Penn 1967) • Boxcar Bertha (Scorsese 1972) • Carnal Knowledge (Nichols 1971) • A Clockwork Orange (Kubrick 1971) • The Conversation (Coppola 1974) • The Deer Hunter (Cimino 1978) • Deliverance (Boorman 1972) • Dog Day Afternoon (Lumet 1975) • Five Easy Pieces (Rafelson1970) • The French Connection (Friedkin 1971) • The Getaway (Peckinpah 1972) • The Godfather/The Godfather: Part II (Coppola 1972/1974) • The Last Picture Show (Bogdanovich 1971) • Little Big Man (Penn 1970) • M*A*S*H (Altman 1970) • McCabe & Mrs. Miller (Altman 1971) • Mean Streets (Scorsese 1973) • Nashville (Altman 1976) • Play It Again, Sam (Allen 1972) • Straw Dogs (Peckinpah 1971) • The Sugarland Express (Spielberg 1974) • Taxi Driver (Scorsese 1976) • Three Days of the Condor (Pollack 1975) • Zabriskie Point (Antonioni 1970)

  5. End of an Era • Films like Jaws (1975) and Star Wars (1977) ushering in blockbuster era, with studio desire for large profits generated by “tentpole” films with cross-marketing potential

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