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New Hollywood
The New Hollywood, Hollywood Renaissance, or American New Wave, was a movement in American film history from the 1960s to the 1980s, when a new generation of filmmakers came to prominence. They influenced the types of film produced, their production and marketing, and the way major studios approached filmmaking. In New Hollywood films, the film director, rather than the studio, took on a key authorial role.
The definition of "New Hollywood" varies, depending on the author, with some defining it as a movement and others as a period. The span of the period is also a subject of debate, as well as its integrity, as some authors, such as Thomas Schatz, argue that the New Hollywood consists of several different movements. The films made in this movement are stylistically characterized in that their narrative often deviated from classical norms. After the demise of the studio system and the rise of television, the commercial success of films was diminished.
Successful films of the early New Hollywood era include Bonnie and Clyde, The Graduate and Easy Rider while films whose box office failure marked the end of the era include New York, New York, Sorcerer, Heaven's Gate, They All Laughed, and One from the Heart.
It is also the name of a 1990 NBC News special hosted by Tom Brokaw about the then "new" Hollywood industry of the 1980s and early 1990s making epic mainstream blockbusters, personal mid-budget fare and smaller independent efforts.
In fact, The Wild Angels was kind of a... it was a big success for the New Hollywood. It was Roger Corman, it was Peter Fonda, Nancy Sinatra, it was a New Hollywood kind of movie, and it was very anti-the Old Hollywood, it was very hard-edged, violent, you know, it was not at all an Old Hollywood movie. And I didn't, I wasn't particularly aware of it. Then the following year was Bonnie and Clyde. Shadows had come out in the early '60s, so that was really the first sign of a kind of off-Hollywood movement.
– Peter Bogdanovich
Following the Paramount Case (which ended block booking and ownership of theater chains by film studios) and the advent of television (where Gore Vidal, Rod Serling, John Frankenheimer, Arthur Penn, Paddy Chayefsky and Sidney Lumet worked in their earlier years), both of which severely weakened both the traditional studio system and the Motion Picture Production Code (or the Hays Code), Hollywood studios initially used spectacle to retain profitability. Technicolor developed a far more widespread use, while widescreen processes and technical improvements, such as CinemaScope, stereo sound, and others, such as 3-D, were invented to retain the dwindling audience and compete with television. However, these were generally unsuccessful in increasing profits. By 1957, Life magazine called the 1950s "the horrible decade" for Hollywood. It was dubbed a "New Hollywood" by a press.
In the 1950s and early 1960s, Hollywood was dominated by musicals, historical epics, and other films that benefited from the larger screens, wider framing, and improved sound. However, audience shares continued to dwindle, and had reached alarmingly low levels by the mid-1960s. Several costly flops, including Doctor Dolittle, Tora! Tora! Tora! and the Julie Andrews vehicle Star!, each failed attempts to replicate the success of Mary Poppins, Doctor Zhivago and The Sound of Music, put great strain on the studios. Both British and American press dismissed filmmakers Alfred Hitchcock and Howard Hawks as "frivolous entertainers and nothing more" while praising more respectable "models of American art films" like Stanley Kramer's Judgment at Nuremberg. American underground cinema was usually regarded as "marginal and parochial" even with the debut features of John Cassavetes (Shadows in 1959) and Shirley Clarke (The Connection in 1961) as both were being praised by Esquire film critic Dwight Macdonald (despite being hostile to other underground titles like Jonas Mekas's 1963 manifestation Guns of the Trees).
By the time the Baby Boomer generation started to come of age in the 1960s, "Old Hollywood" was rapidly losing money; the studios were unsure how to react to the much-changed audience demographics. The change in the market during the period went from a middle-aged high school-educated audience in the mid-1960s to a younger, more affluent, college-educated demographic: by the mid-1970s, 76% of all movie-goers were under 30, 64% of whom had gone to college. European films, both arthouse and commercial (especially the Commedia all'italiana, the French New Wave, the Spaghetti Western), and Japanese cinema were making a splash in the United States – the huge market of disaffected youth seemed to find relevance and artistic meaning in movies like Michelangelo Antonioni's Blowup, with its oblique narrative structure and full-frontal female nudity.
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New Hollywood
The New Hollywood, Hollywood Renaissance, or American New Wave, was a movement in American film history from the 1960s to the 1980s, when a new generation of filmmakers came to prominence. They influenced the types of film produced, their production and marketing, and the way major studios approached filmmaking. In New Hollywood films, the film director, rather than the studio, took on a key authorial role.
The definition of "New Hollywood" varies, depending on the author, with some defining it as a movement and others as a period. The span of the period is also a subject of debate, as well as its integrity, as some authors, such as Thomas Schatz, argue that the New Hollywood consists of several different movements. The films made in this movement are stylistically characterized in that their narrative often deviated from classical norms. After the demise of the studio system and the rise of television, the commercial success of films was diminished.
Successful films of the early New Hollywood era include Bonnie and Clyde, The Graduate and Easy Rider while films whose box office failure marked the end of the era include New York, New York, Sorcerer, Heaven's Gate, They All Laughed, and One from the Heart.
It is also the name of a 1990 NBC News special hosted by Tom Brokaw about the then "new" Hollywood industry of the 1980s and early 1990s making epic mainstream blockbusters, personal mid-budget fare and smaller independent efforts.
In fact, The Wild Angels was kind of a... it was a big success for the New Hollywood. It was Roger Corman, it was Peter Fonda, Nancy Sinatra, it was a New Hollywood kind of movie, and it was very anti-the Old Hollywood, it was very hard-edged, violent, you know, it was not at all an Old Hollywood movie. And I didn't, I wasn't particularly aware of it. Then the following year was Bonnie and Clyde. Shadows had come out in the early '60s, so that was really the first sign of a kind of off-Hollywood movement.
– Peter Bogdanovich
Following the Paramount Case (which ended block booking and ownership of theater chains by film studios) and the advent of television (where Gore Vidal, Rod Serling, John Frankenheimer, Arthur Penn, Paddy Chayefsky and Sidney Lumet worked in their earlier years), both of which severely weakened both the traditional studio system and the Motion Picture Production Code (or the Hays Code), Hollywood studios initially used spectacle to retain profitability. Technicolor developed a far more widespread use, while widescreen processes and technical improvements, such as CinemaScope, stereo sound, and others, such as 3-D, were invented to retain the dwindling audience and compete with television. However, these were generally unsuccessful in increasing profits. By 1957, Life magazine called the 1950s "the horrible decade" for Hollywood. It was dubbed a "New Hollywood" by a press.
In the 1950s and early 1960s, Hollywood was dominated by musicals, historical epics, and other films that benefited from the larger screens, wider framing, and improved sound. However, audience shares continued to dwindle, and had reached alarmingly low levels by the mid-1960s. Several costly flops, including Doctor Dolittle, Tora! Tora! Tora! and the Julie Andrews vehicle Star!, each failed attempts to replicate the success of Mary Poppins, Doctor Zhivago and The Sound of Music, put great strain on the studios. Both British and American press dismissed filmmakers Alfred Hitchcock and Howard Hawks as "frivolous entertainers and nothing more" while praising more respectable "models of American art films" like Stanley Kramer's Judgment at Nuremberg. American underground cinema was usually regarded as "marginal and parochial" even with the debut features of John Cassavetes (Shadows in 1959) and Shirley Clarke (The Connection in 1961) as both were being praised by Esquire film critic Dwight Macdonald (despite being hostile to other underground titles like Jonas Mekas's 1963 manifestation Guns of the Trees).
By the time the Baby Boomer generation started to come of age in the 1960s, "Old Hollywood" was rapidly losing money; the studios were unsure how to react to the much-changed audience demographics. The change in the market during the period went from a middle-aged high school-educated audience in the mid-1960s to a younger, more affluent, college-educated demographic: by the mid-1970s, 76% of all movie-goers were under 30, 64% of whom had gone to college. European films, both arthouse and commercial (especially the Commedia all'italiana, the French New Wave, the Spaghetti Western), and Japanese cinema were making a splash in the United States – the huge market of disaffected youth seemed to find relevance and artistic meaning in movies like Michelangelo Antonioni's Blowup, with its oblique narrative structure and full-frontal female nudity.