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In December 1967, Time magazine put Bonnie and Clyde on its cover and proudly declared that Hollywood cinema was undergoing a 'renaissance'. For the next few years, a wide range of formally and thematically challenging films were produced at the very centre of the American film industry, often (but by no means always) combining success at the box office with huge critical acclaim, both then and later. This collection brings together acknowledged experts on American cinema to examine thirteen key films from the years 1966 to 1974, starting with Who's Afraid of Virginia Woolf?, a major studio…mehr
In December 1967, Time magazine put Bonnie and Clyde on its cover and proudly declared that Hollywood cinema was undergoing a 'renaissance'. For the next few years, a wide range of formally and thematically challenging films were produced at the very centre of the American film industry, often (but by no means always) combining success at the box office with huge critical acclaim, both then and later. This collection brings together acknowledged experts on American cinema to examine thirteen key films from the years 1966 to 1974, starting with Who's Afraid of Virginia Woolf?, a major studio release which was in effect exempted from Hollywood's Production Code and thus helped to liberate American filmmaking from (self-)censorship. Long-standing taboos to do with sex, violence, race relations, drugs, politics, religion and much else could now be broken, often in conjunction with extensive stylistic experimentation. Whereas most previous scholarship has examined these developments through the prism of auteurism, with its tight focus on film directors and their oeuvres, the contributors to this collection also carefully examine production histories and processes. In doing so they pay particular attention to the economic underpinnings and collaborative nature of filmmaking, the influence of European art cinema as well as of exploitation, experimental and underground films, and the connections between cinema and other media (notably publishing, music and theatre). Several chapters show how the innovations of the Hollywood Renaissance relate to further changes in American cinema from the mid-1970s onwards.
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Autorenporträt
Peter Krämer is a Senior Fellow in the School of Art, Media and American Studies at the University of East Anglia, UK. He is the author and editor of eight academic books, among them The New Hollywood: From Bonnie and Clyde to Star Wars (2005) and the BFI Film Classic on 2001: A Space Odyssey (2010). Yannis Tzioumakis is Reader in Film and Media Industries at the University of Liverpool, UK. He is the author of four books, most recently of American Independent Cinema: An Introduction, 2nd edition (2017) and co-editor of four collections of essays, most recently of The Routledge Companion to Cinema and Politics (2016).
Inhaltsangabe
List of Contributors Introduction (Peter Krämer University of East Anglia UK; and Yannis Tzioumakis University of Liverpool UK) 1. Who's Afraid of Virginia Woolf? (1966): The Commercial and Regulatory Impact of the First American Art Film Justin Wyatt (University of Rhode Island USA) 2. The Film Editors who Invented the Hollywood Renaissance: Ralph Rosenblum Sam O'Steen and Dede Allen's Bonnie and Clyde Warren Buckland (Oxford Brookes University UK) 3. 'I smell money!' Class Product The Graduate and the Corporatisation of Embassy Anthony McKenna (Shanghai Jiatong University China) 4. 'A Triumph of Aura over Appearance': Barbra Streisand Funny Girl (1968) and the Hollywood Renaissance Peter Krämer (University of East Anglia UK) 5. The Auteurist Special Effects Film: Kubrick's 2001: A Space Odyssey (1968) and the 'Single-Generation Look' Julie Turnock (University of Illinois Urbana Champaign USA) 6. 'About as Brutal Relevant and Exploitable as They Come': Medium Cool and Political Filmmaking Oliver Gruner (University of Portsmouth UK) 7. From Exploitation to Legitimacy: Easy Rider (1969) and Independent Cinema's Journey into Hollywood Yannis Tzioumakis (University of Liverpool) 8. Hollywood Trade: Midnight Cowboy (1969) and Underground Cinema Gary Needham (University of Liverpool UK) 9. Zabriskie Point (1970) Michelangelo Antonioni and European Directors in Hollywood Melis Behlil (Kadir Has University Turkey) 10. Becoming Hal Ashby: Intersectional Politics the 'Hollywood Renaissance' and Harold and Maude (1971) Philip Drake (Edge Hill University UK) 11. A Matter of Race and Gender: Lady Sings the Blues (1972) and the Hollywood Renaissance Canon Charlene Regester (University of North Carolina Chapel Hill USA) 12. De Niro and Scorsese: Director-Actor Collaboration in Mean Streets (1973) and the Hollywood Renaissance R. Colin Tait (Texas Christian University USA) 13. Coppola's The Conversation (1974) and Walter Murch's Sound Worlds Frederick Wasser (CUNY Brooklyn College USA) Index
List of Contributors Introduction (Peter Krämer University of East Anglia UK; and Yannis Tzioumakis University of Liverpool UK) 1. Who's Afraid of Virginia Woolf? (1966): The Commercial and Regulatory Impact of the First American Art Film Justin Wyatt (University of Rhode Island USA) 2. The Film Editors who Invented the Hollywood Renaissance: Ralph Rosenblum Sam O'Steen and Dede Allen's Bonnie and Clyde Warren Buckland (Oxford Brookes University UK) 3. 'I smell money!' Class Product The Graduate and the Corporatisation of Embassy Anthony McKenna (Shanghai Jiatong University China) 4. 'A Triumph of Aura over Appearance': Barbra Streisand Funny Girl (1968) and the Hollywood Renaissance Peter Krämer (University of East Anglia UK) 5. The Auteurist Special Effects Film: Kubrick's 2001: A Space Odyssey (1968) and the 'Single-Generation Look' Julie Turnock (University of Illinois Urbana Champaign USA) 6. 'About as Brutal Relevant and Exploitable as They Come': Medium Cool and Political Filmmaking Oliver Gruner (University of Portsmouth UK) 7. From Exploitation to Legitimacy: Easy Rider (1969) and Independent Cinema's Journey into Hollywood Yannis Tzioumakis (University of Liverpool) 8. Hollywood Trade: Midnight Cowboy (1969) and Underground Cinema Gary Needham (University of Liverpool UK) 9. Zabriskie Point (1970) Michelangelo Antonioni and European Directors in Hollywood Melis Behlil (Kadir Has University Turkey) 10. Becoming Hal Ashby: Intersectional Politics the 'Hollywood Renaissance' and Harold and Maude (1971) Philip Drake (Edge Hill University UK) 11. A Matter of Race and Gender: Lady Sings the Blues (1972) and the Hollywood Renaissance Canon Charlene Regester (University of North Carolina Chapel Hill USA) 12. De Niro and Scorsese: Director-Actor Collaboration in Mean Streets (1973) and the Hollywood Renaissance R. Colin Tait (Texas Christian University USA) 13. Coppola's The Conversation (1974) and Walter Murch's Sound Worlds Frederick Wasser (CUNY Brooklyn College USA) Index
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