vehicle Wild Guitar and the 1963 horror musical flick The Incredibly Strange Creatures Who Stopped Living and Became Mixed-Up Zombies. Some of whom, like actor Jack Nicholson and director Peter Bogdanovich, were mentored by "King of the Bs" Roger Corman while others like celebrated cinematographer Vilmos Zsigmond worked for lesser-known B movie directors like Ray Dennis Steckler, known for the 1962 Arch Hall Jr. Therefore, in an attempt to capture that audience that found a connection to the "art films" of Europe, the studios hired a host of young filmmakers and allowed them to make their films with relatively little studio control. The desperation felt by studios during this period of economic downturn, and after the losses from expensive movie flops, led to innovation and risk-taking, allowing greater control by younger directors and producers. 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. 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. īy 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. Several costly flops, including Tora! Tora! Tora! and Hello, Dolly!, and failed attempts to replicate the success of The Sound of Music, put great strain on the studios.
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However, audience shares continued to dwindle, and had reached alarmingly low levels by the mid-1960s. Hence, as early as 1957, the era was dubbed a "New Hollywood". 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. By 1957, Life magazine called the 1950s "the horrible decade" for Hollywood. However, these were generally unsuccessful in increasing profits. 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 in order to retain the dwindling audience and compete with television. Shadows had come out in the early '60s, so that was really the first sign of a kind of off-Hollywood movement įollowing the Paramount Case (which ended block booking and ownership of theater chains by film studios) and the advent of television (where Rod Serling, John Frankenheimer, Arthur Penn, Paddy Chayefsky and Sidney Lumet worked in their earlier years), both of which severely weakened the traditional studio system, Hollywood studios initially used spectacle to retain profitability. Then the following year was Bonnie and Clyde. And I didn't, I wasn't particularly aware of it.
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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. it was a big success for the New Hollywood. Successful films of the early New Hollywood era include Bonnie and Clyde, The Graduate, Rosemary's Baby, Night of the Living Dead, The Wild Bunch, and Easy Rider while films that failed at the box office such as New York, New York, Sorcerer, Heaven's Gate, They All Laughed and One from the Heart marked the end of the era. After the demise of the studio system and the rise of television, the commercial success of films was diminished. The films made in this movement are stylistically characterized in that their narrative often deviated from classical norms. 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 definition of "New Hollywood" varies, depending on the author, with some defining it as a movement and others as a period. In New Hollywood films, the film director, rather than the studio, took on a key authorial role.
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They influenced the types of film produced, their production and marketing, and the way major studios approached filmmaking. The New Hollywood, Hollywood Renaissance, American New Wave, or New American Cinema (not to be confused with the New American Cinema of the 1960s that was part of avant-garde underground cinema), was a movement in American film history from the mid-1960s to the early 1980s, when a new generation of filmmakers came to prominence. Bonnie and Clyde (1967), one of the films that defined New Hollywood