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In the late 1960s, the collapse of the classic Hollywood studio system led in part, and for less than a decade, to a production trend heavily influenced by the international art cinema. Reflecting a new self-consciousness in the US about the national film patrimony, this period is known as the Hollywood Renaissance. However, critical study of the period is generally associated with its so-called principal auteurs, slighting a number of established and emerging directors who were responsible for many of the era's most innovative and artistically successful releases.
With contributions from leading film scholars, this book provides a revisionist account of this creative resurgence by discussing and memorializing twenty-four directors of note who have not yet been given a proper place in the larger history of the period. Including filmmakers such as Hal Ashby, John Frankenheimer, Mike Nichols, and Joan Micklin Silver, this more expansive approach to the auteurism of the late 1960s and 1970s seems not only appropriate but pressing - a necessary element of the re-evaluation of 'Hollywood' with which cinema studies has been preoccupied under the challenges posed by the emergence and flourishing of new media.
Inhaltsverzeichnis
List of contributors
Introduction, R. Barton Palmer and Murray Pomerance
1. Hal Ashby, Gentle Giant
Brenda Austin-Smith
2. Remaking Gender in the Early Films of Peter Bogdanovich
Douglas McFarland
3. In Extremis: John Boorman's Cinema of Dislocation
Ina Rae Hark
4. John Cassavetes: In Your Face and Off the Grid
Rebecca Bell-Metereau
5. "Let Me Love You": Ambiguous Masculinity in Michael Cimino's Melodramas
I-Lien Tsay
6. De Palma's Embattled Red Period: Hitchcock, Gender, Genre, and Postmodernism
Linda Badley
7. Escape from Escapism: Bob Fosse and the Hollywood Renaissance
Dennis Bingham
8. The Little Deaths of John Frankenheimer
Daniel Varndell
9. William Friedkin: Frayed Connections
Dominic Lennard
10. Sidney Lumet and the New Hollywood
David Desser
11. Terrence Malick's Emergent Lyricism in Badlands and Days of Heaven
Rick Warner
12. Elaine May: Subverting Machismo "Step by Tiny Step"
Kyle Stevens
13. Paul Mazursky: The New Hollywood's Forgotten Man
Lester D. Friedman
14. New Hollywood Crossover: Joan Micklin Silver & the Indie-Studio Divide
Maya Montañez Smukler
15. Mike Nichols and the Hollywood Renaissance: A Cinema of Cultural Investigation
Nancy Roche
16. "There will be no questions": 1970s American Cinema as Parallax in Alan J. Pakula's 'Paranoia Trilogy'
Terence McSweeney
17. Genres of the Modern Mythic in the Films of Sam Peckinpah
Daniel Sacco
18. Bob Rafelson's Ambivalent Authorship
Vincent Longo
19. We've Never Danced: Alan Rudolph's Welcome to L.A. and Remember My Name
Steven Rybin
20. Jerry Schatzberg's Downfall Portraits: His Cinema of Loneliness
R. Barton Palmer
21. Inside John Schlesinger Outside
Murray Pomerance
22. Fire and Ice: Paul Schrader
Constantine Verevis
23. Peter Yates: On Location in the New Hollywood
Jonathan Kirshner
Über den Autor / die Autorin
Dominic Lennard is a Teaching Fellow in the Pre-degree Programs at the University of Tasmania. He is the
author of
Bad Seeds and Holy Terrors: The Child Villains of Horror Film (SUNY Press, 2014) and
Brute
Force: Animal Horror Movies (SUNY, 2019).R. Barton Palmer is the Calhoun Lemon Professor of Literature at Clemson University, where he directs the film studies program. He is the author, editor, or general editor of many books including
Hollywood's Dark Cinema: The American Film Noir (1994),
After Hitchcock: Influence, Imitation, and Intertextuality (2006), and
A Little Solitaire: John Frankenheimer and American Film (2011).Murray Pomerance is an independent scholar living in Toronto. He is the author of many books including
The Man Who Knew Too Much (BFI, 2016),
A King of Infinite Space (Oberon, 2017) and
Moment of Action: Riddles of Cinematic Performance (Rutgers, 2016).
Zusammenfassung
This book provides a revisionist account of the Hollywood Renaissance period by discussing (and thus memorialising) 24 directors of note who have not yet been given a proper place in the larger history of the period.
