The Last Great American Picture Show : : New Hollywood Cinema in the 1970s / / ed. by Thomas Elsaesser, Noel King, Alexander Horwath.

• Superior document: Title is part of eBook package: De Gruyter AUP eBook Package Backfile 2000-2013
• MitwirkendeR: Elsaesser, Thomas,; Hampton, Howard,; Hoberman, J.,; Horwath, Alexander,; Jameson, Richard T.,; Jones, Kent,; Keathley, Christian,; King, Noel,; Martin, Adrian,; McDonagh, Maitland,; Polan, Dana,; Reynaud, Bérénice,; Robnik, Drehli,; Rosenbaum, Jonathan,; Thomson, David,
• HerausgeberIn: Elsaesser, Thomas,; Horwath, Alexander,; King, Noel,
• Place / Publishing House: Amsterdam : : Amsterdam University Press, , [2004]; ©2004
• Year of Publication: 2004
• Language: English
• Series: Film Culture in Transition
• Physical Description: 1 online resource (400 p.) :; 23 black and white illustrations

The French Connection, The Last Picture Show, M.A.S.H., Harold and Maude-these are only a few of the iconic films made in the United States during the 1970s. Originally considered a "lost generation," the 1970s are increasingly recognized as a crucial turning point in American filmmaking, and many films from the era have resurfaced from oblivion to become a reference for new directorial talents. The Last Great American Picture Show explores this pivotal era in American film history with a collection of essays by scholars and writers that firmly situates the decade as the time of the emergence of "New Hollywood." Sam Peckinpah, Arthur Penn, Peter Bogdanovich, Monte Hellman, Bob Rafelson, Hal Ashy, Robert Altman, and James Tobac: these legendary directors developed innovative techniques, gritty aesthetics, and a modern sensibility in American film. Here, contributors compellingly argue that the cinema of today's major directors-Steven Spielberg, James Cameron, Quentin Tarantino, Ridley Scott, Robert Zemeckis-could not have come into existence without the groundbreaking works produced by the directors of the 1970s. A wholly engaging and long-overdue investigation of this important era in American film, The Last Great American Picture Show reveals how the films of the 1970s transformed the American social consciousness and influenced filmmaking worldwide.

Table of Contents

Frontmatter -- Table of Contents -- Part One: Introductions -- The Impure Cinema: New Hollywood 1967-1976 -- "The Last Good Time We Ever Had": Remembering the New Hollywood Cinema -- American Auteur Cinema: The Last - or First - Picture Show? -- Part Two: Histories -- The Decade When Movies Mattered -- A Walking Contradiction (Partly Truth and Partly Fiction) -- The Exploitation Generation. Or: How Marginal Movies Came in from the Cold -- New Hollywood and the Sixties Melting Pot -- Part Three: People and Places -- Dinosaurs in the Age of the Cinemobile -- "The Cylinders Were Whispering My Name": The Films of Monte Hellman -- Nashville Contra Jaws, Or "The Imagination of Disaster" Revisited -- For Wanda -- Everybody Knows This Is Nowhere: The Uneasy Ride of Hollywood and Rock -- Auteurism and War-teurism: Terrence Malick's War Movie -- Part Four: Critical Debates -- The Pathos of Failure: American Films in the 1970s: Notes on the Unmotivated Hero [1975] -- Trapped in the Affection Image: Hollywood's Post-traumatic Cycle (1970-1976) -- Grim Fascination: Fingers, James Toback, and 1970s American Cinema -- Allegories of Post-Fordism in 1970s New Hollywood: Countercultural Combat Films, Conspiracy Thrillers as Genre Recycling -- Bibliography -- List of Contributors -- Pictures (with credits) -- Index of Film Titles