1960s and 70s cinema American New Wave

Problems facing post-WWII America Attendance losses By the mid-1960s had reached alarmingly low levels. Changing audience demographics: Before: Middle aged, high school educated audience Now: younger, college-educated, more affluent audience; by the mid 70s, 76% of all movie-goers were under 30, and 64% had gone to college. -European market: European art films (especially the Commedia all'italiana, the French New Wave, and the Spaghetti Western) and Japanese cinema were making a splash in America The huge market of disaffected youth seemed to find relevance and artistic meaning in movies -Rise of TV

Evolution of New Cinema -Television made older audience stay home -New Wave French influence -Underground cinema—avant garde -Film as an art form—colleges and universities

Types of films -alienation films -rebellion films -ideological films -soundtrack

New American Cinema -Subconsciously concerned with style -1970s moving away from what we were doing before, start focusing on auteur style -Shift away from genre

New Hollywood Post-classical Hollywood – AKA "American New Wave” Roughly the mid-1960s (Bonnie and Clyde, The Graduate) to the early 1980s (Heaven's Gate, One from the Heart) New generation of young filmmakers came to prominence in America Influencing the types of films produced, their production and marketing, and impacted the way major studios approached filmmaking. The films they made were part of the studio system -- not "independent filmmakers” but they introduced subject matter and styles that set them apart from the studio traditions. New Hollywood has also been defined as a broader filmmaking movement influenced by this period, which has been called the “Hollywood renaissance” Studios desperate during this period after losses from expensive movie flops led to innovation and risk taking Greater control by younger directors and producers in an attempt to capture that audience which found a connection to the “art films” of Europe Studios hired a host of young and allowed them to make their films with relatively little studio control. Breakdown of the Production Code in 1966 and the new ratings system in 1968

Characteristics of the New Hollywood films New generation of Hollywood filmmaker: film school-educated, counterculture-bred, and young Able to reach the youth audience Hollywood was losing. This group of young filmmakers — actors, writers and directors — dubbed the New Hollywood by the press, briefly changed the business from the producer-driven Hollywood system of the past, to films with fresh energy, sexuality, and a passion for the artistic value of film itself. Greatest change: emphasis on realism. Motion Picture Association of America film rating system was introduced Location shooting was becoming more viable. Because of breakthroughs in film technology—filmmakers could shoot 35mm camera film in exteriors with relative ease. Location shooting cheaper (no sets need be built) so, New Hollywood filmmakers were attracted to it – also heightened the realism

Characteristics of the New Hollywood films continued The use of editing to artistic effect was also an important factor in New Hollywood cinema New Hollywood films often featured anti-establishment political themes, use of rock music, and sexual freedom deemed "counter-cultural" by the studios. Many figures of the period openly admit to using drugs such as LSD and marijuana. The popularity of these films with young people shows the importance of these thematic elements and artistic values with a more cinematically knowledgeable audience. The youth movement of the 1960s turned anti-heroes like Bonnie and Clyde into pop culture heroes

Bonnie and Clyde Many considered B&C the most significant film for the New Hollywood generation Considered a landmark film—one of the first films of the New Hollywood era broke many taboos and was popular with the younger generation Released in 1967. Produced by and starring Warren Beatty Directed by: Arthur Penn Cast Warren Beatty as Clyde Barrow Faye Dunaway as Bonnie Parker Michael J. Pollard as C.W. Moss Gene Hackman as Buck Barrow Estelle Parsons as Blanche Barrow Its mix of graphic violence, sex and humor as well as its theme of glamorous disaffected youth was a hit with audiences Received Academy Awards for Best Supporting Actress and Best Cinematography.

Critical Reviews Its portrayal of violence and ambiguity in regard to moral values, and ‘shock’ ending, divided critics. Following a negative review, Time magazine received letters from fans of the movie The impact of critic Pauline Kael in her positive review of the film (October 1967 New Yorker) led other reviewers to follow her lead and re-evaluate the film (notably Newsweek and Time) Kael drew attention to the innocence of the characters in film and the artist merit of the contrast with the violence in the film: “In a sense, it is the absence of sadism — it is the violence without sadism — that throws the audience off balance at Bonnie and Clyde. The brutality that comes out of this innocence is far more shocking than the calculated brutalities of mean killers”. Kael also noted the reaction of audiences to the violent climax of the movie, and the potential to empathize with the gang of criminals in terms of their naiveté and innocence reflecting a change in expectations of American cinema. The cover story in Time Magazine in December 1967, celebrated the movie and innovation in American New wave cinema. This influential article by Stefan Kanfer claimed that Bonnie and Clyde represented a "New Cinema" through its blurred genre lines, and disregard for honored aspects of plot and motivation, and that “In both conception and execution, Bonnie and Clyde is a watershed picture, the kind that signals a new style, a new trend.” Biskind states that this review and turnaround by some critics allowed the film to be rereleased thus proving its commercial success and reflecting the move to New Hollywood.

Impact of Bonnie and Clyde Its success motivated other filmmakers to be more forward about presenting sex and violence in their films. The impact of this film is important in understanding the rest of the American New Wave, as well as the conditions that were necessary for it. These initial successes paved the way for the studio to relinquish almost complete control to these innovative young filmmakers. In the mid-1970s, idiosyncratic, startling original films such as Paper Moon, Dog Day Afternoon, Chinatown and Taxi Driver among others, enjoyed enormous critical and commercial success. These successes by the members of New Hollywood led each of them in turn to make more and more extravagant demands, both on the studio and eventually on the audience.