New%20Wave%20Cinema%20in%20the%20US

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New Wave Cinema in the US

• Towards Art Cinema

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Table of Contents

• 1) American New Wave Cinema
• 2) New Hollywood and Independent Filmmaking
• 3) Realist or Formalist?

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American New Wave Cinema

• ? Recession in the film industry in the late 60s
• Costly flops of blockbuster films Doctor Do
  Little (1967) and Star! (1968)
• Competition from TV networks ABC and CBS
  (stopped bidding for pictures and began the
  production of their own films)
• Movie attendance reduced from 2 to 1 billion a
  year
• Annual loss of 200 million by 1969

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American New Wave Cinema

• ? Abandonment of the Hayes Code (1930-1967)
• Three pillars
• 1) Moral standard - no sympathy to crime and sin
• 2) Only correct standard of life must be
  shown.
• 3) Law should not be ridiculed.

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American New Wave Cinema

• What was not allowed to be shown - Nudity,
  ridicule of religion, illegal drug use, detailed
  criminal methods, foul language, realistic
  murdering scenes, matrimonial unsanctity
  (adultery and illicit sex), homosexuality,
  miscegenation, lustful kissing
• Introduction of a new MPAA rating system M
  (Mature), R (Restricted), and X (No one under 16
  admitted)
• Abandonement of the Hayes Code - attempt to
  differentiate movies from TV films and moral
  cultural changes in the 1960s

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American New Wave Cinema

• ? Influence of European and other non-American
  cinema
• - French Nouvelle vague
• - Italian, Swedish and Japanese film

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The Other Cinema

• Federico Fellinis La Dolce Vita (1960), 8 1/2
  (1963)
• New and liberated attitudes to sexuality in
  cinema
• Totally unconventional narrative and imaginative
  visual styles

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The Other Cinema

• Akira Kurosawa Yojinbo (1961), Sanjuro (1962)
• New possibility of action and entertainment films
• Fresh approaches to film making

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The Other Cinema

• Ingmar Bergman, The Silence (1963), Persona
  (1966)
• Ultimate art cinema
• Visualization of inner psyche explicit rendition
  of desire and guilt

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American New Wave Cinema

• François Truffaut, Jules et Jim (1962)
• Ultimate youth film youthful, playful and
  ammoral
• Loves triangle in fresh and pop visual style

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American New Wave Cinema

• Michelangelo Antonionis Blow-up (1966)
• Baffled and shocked the American viewer with
  ambiguous and oblique narrative and full frontal
  nudity and erotic camera work

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American New Wave Cinema

• NEW LATITUDE leads to
• Expressive freedom (in low budget films)
• Pursuit of more realistic and formalistic
  possibility
• Film realism - location shooting, narrative
  with more reality effects, more faithful
  reflection of the society
• Film formalism - more experimental filmmaking
  without restrain of conventional film realism

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American New Wave Cinema

• Arthur Penns Bonnie and Clyde (1967)
• They are young they are in love.
• Pushing the standards of acceptability as far as
  possible

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American New Wave Cinema

• Challenge movie taboos - sexuality and violence
• Direct and indirect influence of Nouvelle Vague
  films Truffauts contribution to the script
  rapid, sudden shifts of tone choppy editing

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American New Wave Cinema

• The Graduate (1967) - Mike Nichols low budget
  film on a university graduate, who has no
  definite aim, is seduced by an older woman and
  falls in love with her daughter.

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American New Wave Cinema

• Self-conscious use of film techniques -
  foregrounding aesthetic elements
• Location shooting (USC, UC Berkeley, Ambassador
  Hotel, United Methodist Church LaVerne and
  Beverly Hills)

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American New Wave Cinema

• Deep focus composition subliminal effects
  running-in-place the new use of music -
  folk-rock music by Simon and Garfunkel
• Mrs. Robinson and the ending scene

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American New Wave

• Youth Film
• Phenomenal successes of Bonnie and Clyde (Arthur
  Penn, 1967) and The Graduate (Mike Nichols, 1967)
  
• Studios launched a serious of youthpic, youth
  rebellion and counter-culture campus rebellion
  and unorthodox lifestyles

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American New Wave Cinema

• Dennis Hoppers Easy Rider (1969) - Ultimate
  youth film reflecting the cultural and social
  situation and the mood of the 60s

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American New Wave Cinema

• The disillusionment with the government hippie
  and the Beat movement - alternative culture,
  religion and values motorbike, and drug
  subculture youth culture - rock music

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American New Wave Cinema

• Butch Cassidy and the Sundance Kid (1969) - a
  revisionist Western film by George Roy Hill
  loosely based on the Robin Hood- like outlaws
  and about their friendship and camaraderie.
• Casual filming style (Nouvelle vague) use of
  Bert Bacharachs music

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American New Wave Cinema

• Wild Bunch (1969) - Sam Pekinpahs Western film
  about an aging outlaw trying to survive the
  modern world in the Texas-Mexican borders

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American New Wave Cinema

• Controversial in the representation of violence
  and the portrayal of cruel and violent men.
• Technical expertise in multi-angle editing, rapid
  cutting and slow-motion photography
• Shoot-out scene

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American New Wave Cinema

• MASH (1970) - a satirical comedy on war (the
  Korean and Vietnamese Wars)
• Anti-establishment humour, episodic narrative and
  editing, overlapping conversations and sudden
  zooms

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New Hollywood and Independent Directors

• Arthur Penn (1922 - ) Mike Nichols
  (1931 - )
• Heavily influenced by German Jew, who
  moved to
• Nouvelle vague, the movies from the
  stage, the
• maker of The maker of The
  Graduate
• of Bonnie and Clyde

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New Hollywood and Independent Directors

• John Schlesinger (1926 - ) Peter
  Bogdanovich
• British filmmaker from (1939 - ), Serbian
• television, Midnight Cow- Jew, nouvelle
  vague
• boy (1969) Paper Moon (1973)

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New Hollywood and Independent Directors

• Francis Ford Coppola Martin
  Scorsese (1942 - )
• (1939 - ) Italian American, Italian American,
  graduate
• graduate of UCLA film of UNY film
  school, Taxi
• school, The Conversation Driver (1975)
• (1975)

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New Hollywood and Independent Directors

• George Lucas (1944 - ) USC Steven Spielberg
  (1946 - )
• film school graduate, film Attended CSU,
  Long Beach
• buff, American Graffiti after failing
  to enter UCLA
• (1973) three
  times, The Sugarland
• Express (1974)

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The End of New Wave Era

• The success of Star Wars (1977) and Close
  Encounters of the Third Kind (1977) revived
  Hollywood blockbuster films
• The success of Superman (1978) revived the
  Hollywood tradition of sequels and remakes

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The End of New Wave Era

• High concept cinema
• With concentration on tie-in merchandise (toys)
• With spin-offs into other media (books,
  magazines, television and later video)
• With the use of sequels
• Cinema is commercialized again
• Reflecting economy rather than personal visions
  of filmmakers

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Styles in American New Wave Cinema

• More freedom in filmmaking
• Renovation of genres
• DIVERSE STYLES more formalist and more
  experimental
• Self-conscious stylists
• Personal films