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2:9 New Hollywood

FLM100 Introduction to Film

Guy Westwell

on 26 February 2015

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Transcript of 2:9 New Hollywood

New Hollywood "Ironically, the two American films which purported to the new realism of violence, Penn's Bonnie and Clyde (1967) and Peckinpah's The Wild Bunch (169), used their concurrent revival of antirealistic 1920s avant-garde techniques — namely, slow motion and a rhythmic montage far lovelier than that of 1920s Russian brutalism — to unrealize their realisms" (Andrew Grossman, http://brightlightsfilm.com/37/bleeding1.php) Paramount Decree
Youth market
Post-classical style (antirealism)
European cinema (French New Wave)
1960s: the counter-culture, Vietnam
Hollywood Renaissance Contexts The border "If you read the story of Hank Quinlan and Miguel Vargas (from Touch of Evil) in tomorrow's paper, of a Yankee tyrant trying to smother Mexican justice, you'd sigh, "Same old Mexico", though maybe it's the same old USA, suckering the Mexicans in to cut the grass, pick the fruit, watch over the playgrounds and shovel the shit, and then turning on them in spasms of paranoia. You can still believe, as in the ruinous romances of Malcolm Lowry and Sam Peckinpah, that Mexico is the place where American artists and turistas go to have their fever dreams - or is it simply a matter of getting drunk on cheap tequila where the bottle comes pre-packed with its metaphorical worm?" (David Thomson, "Sam Peckinpah" Sight & Sound, February 2009) Style & the question of realism Peckinpah's West "Peckinpah shot the dream going, gone rotten, machines and money choking the garden, those hard-won gatherings at the river mutating into cold centers of commerce. Chinese boxes of powder and paranoia"

Kathleen Murphy, “Orbits-Sam Peckinpah: No Bleeding Heart”, Film Comment 21.2 March/April 1985, p. 74
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