New Wave, New Hollywood: Reassessment, Recovery, and Legacy
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As a period of film history, The American New Wave (ordinarily understood as beginning in 1967 and ending in 1980) remains a preoccupation for scholars and audiences alike. In traditional accounts, it is considered to be bookended by two periods of conservatism, and viewed as a (brief) period of explosive creativity within the Hollywood system. From Bonnie and Clyde to Heaven’s Gate, it produced films that continue to be watched, discussed, analysed and poured over. It has, however, also become rigidly defined as a cinema of director-auteurs who made a number of aesthetically and politically significant films. This has led to marginalization and exclusion of many important artists and filmmakers, as well as a temporal rigidity about what and who is considered part of the ‘New Wave proper’. This collection seeks to reinvigorate debate around this area of film history. It also looks in part to demonstrate the legacy of aesthetic experimentation and political radicalism after 1980 as part of the ‘legacy’ of the New Wave. Thanks to important new work that questions received scholarly wisdom, reveals previously marginalised filmmakers (and the films they made), considers new genres, personnel, and films under the banner of ‘New Wave, New Hollywood’, and reevaluates the traditional approaches and perspectives on the films that have enjoyed most critical attention, New Wave, New Hollywood: Reassessment, Recovery, Legacy looks to begin a new discussion about Hollywood cinema after 1967. Cover Half Title Title Copyright Contents Illustrations Acknowledgments 1 Introduction 2 The Great Shift in Hollywood Cinema: Men, Women, and Genre Revisionism of the American New Wave 3 Formal Radicalism versus Radical Representation: Reassessing The French Connection (William Friedkin, 1971) and Dirty Harrry (Don Siegel, 1971) 4 A Wave of Their Own: How Jewish Filmmakers Invented the New Hollywood 5 New Hollywood’s “Zany Godards”: A “Shirley” Serious Assessment of Zucker-Abrahams-Zucker 6 Design as Authorship: Polly Platt’s New Hollywood Aesthetic 7 “The Ultimate Fusion of Commerce and Art”: Waldo Salt and Screenwriting in the 1970s 8 Expanding the Past: Julie Dash and Zora Neale Hurston, African American Women Filmmakers of New Hollywood and Early Cinema 9 Lost in the Landscape: The Legacy of Barbara Loden’s Wanda (1970) on the Contemporary American Independent Female Road Movie 10 The New Wave in the New Millennium: Joker, Taxi Driver, Nostalgia, and Trumpian Politics 11 Indie Courtship: Pursuing the American New Wave 12 Afterword: New Wave, New Hollywood, New Research List of Contributors Index
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