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Film Studies

1960-1969 THE NEW WAVE

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PICTURE

START

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1960-1969

THE NEW WAVE• Much was changing

• America had new leader (JFK)

• Europe was liberated in their thought process

• Attitudes changed towards sex, fashion, politics, books,

art, and movies were changing and were being

discussed more openly

• In the film world, the first rumblings of change came

about in France with the NEW WAVE, whose influence

reached Hollywood

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Hollywood at the brink!

• At the start of the 60s:

– Writer’s Guild on strike (equitable contracts

and share of profits of films sold to TV)

– Screen Actor’s Guild demanded a raise to

“minimum” salaries and a share in TV

residuals.

– BOTH won their cases...but contributed to the

near ruin of Hollywood

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Hollywood overtaken• Studios were insecure and having financial difficulties

• Many studios were taken over by multi-national companies:

– Paramount was rescued by GULF + WESTERN INDUSTRIES

– Warner Bros merged with SEVEN ARTS LTD (a TV company that became Warner Bros – Seven Arts)

– MGM shifted its interests to real estate

– MCA (Music Corporation of America) acquired Universal-International Studios

– The Bank of America adsorbed United Artists through its Transamerica Corporation subsidiary

– United Artists had great directors that they convinced to “cross” over (John Sturges ~ the Great Escape,

Blake Edwards ~ The Pink Panther

• Studios became administrative centres and they were losing their individual stamp.

To fill the gap, independent producers became more common. They would show up

to the studios with the whole package....director, script, writers and marketable stars

• Although the structure of the industry had changed, most of the pictures stilled

followed the genre pattern initiated by the studios in their heyday.– Musicals, westerns, romantic comedies

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The Movie Going Habit

• Going to the movies was dying

• Each film had to attract its own audience

• ALOT of $$$ was spent on advertising and

promotion.

• Many blockbuster films (Cleopatra, Roman

Holiday, The Fall of the Roman Empire)

nearly bankrupt the studios.

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Up and Down

• Hollywood began to experience rise and

fall in popularity.

• Fox made a mint with Sound of

Music...then lost it all with Dr. Doolittle...

• More YOUTH oriented films were making

it.

• Hollywood had a new audience 16-24 year

olds

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The new generation

• The younger generation expressed a

growing aversion to traditional values.

• Hollywood began taking risks on younger

and more experiential directors.

• Sex, Drugs, Violence and Rock and Roll

was in demand in the films.

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The s word and Violence

• with the demise of the Production Code, the limits of language,

topics and behaviour were considerable widened.

• Films started to depict violence in a more brutal and graphic manner

(like Bonnie Clyde)

• Films however did not really make reference to civil rights or

Vietnam DIRECTLY, but much of the underlining themes were

directly related to that...The Graduate

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B becomes Z (well sometimes)

• Roger Corman begins making Z movies

• Films on a tiny budget in rented studios

• He formed American International

• Made low biker movies (Peter Fonda)

• Dennis Hopper directed Easy Rider

earned 35 milliona

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Angry Young Men

• An emergence of Playwrights,

novelists, and film makers (in

England) who were labelled as “the

Angry Young Men”

• Many of their works dealt honestly

and vigorously with working class life.

• Many films criticized “the good life”

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Bond and Spaghetti

• Many studios reduced their internal production and

increased movie making outside of the country

(hollywood was shrinking in size)

• Britain was a favourite

• 007 James Bond movies

• Dr. No was made for less than 1 million

• They got more expensive as they gained at the box

office

• Thunderball became the 6th highest earning movie of the

decade pulling in 26 million dollars

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Clint

• Spaghetti westerns are named that

because they were made in Italy

• Made Clint Eastwood a star

• Westerns became a love of the american

people...TV picked up several series

(Rawhide, Bonanza)

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FRENCH NEW WAVE

• Was called “la nouvelle vague”

• Several young critics on the influential magazine Cahiers du Cinema decided to take

practical action in their battle again the content of French productions by making films

themselves.

• The leading figures of the group were Francois Truffaut, Jean-Luc Godard, Alain

Resnais, Claude Chabrol, etc.

• The French New Wave directors turned their backs on conventional filming methods.

They took to shooting in the streets with hand held cameras, and with very small

teams, using jump cuts, improvisation, deconstructed narratives, and quotes from

literature and other films.

• The young directors, producers, and actors captured the life of early 1960s France ~

especially Paris ~ as it was lived by its young people.

• However, towards the end of the 1960s due to strikes and aggressiveness anti-

establishmentarianism many of the French filmmakers started to add conventional

filmmaking techniques to their films. Only a hand full became increasing political and

radical (Godard)

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Bonnie and Clyde

• 1967

• Directed by Arthur Penn

• One of the most influential movies in its amoral attitude toward the

outlaw, seen from a modern psychological and social viewpoint,

Bonnie and Clyde also depicts a graphic violence rare in

mainstream films of the time. A MAJOR turning point in film~!

• Awards:

– Best supporting actress Estelle Parsons

– Best Cinematography

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They’re young, they’re in love, and they kill

people• That was the effective publicity line used to promote the movie

• Movie was about the 20s and 30s ( the same era that enjoyed gangster films that you

could not “sympathize” with them)

• They are portrayed as heroic and as romantic ~ STAR-CROSSED LOVERS caught

up in a whirl of violence and passion.

• The black comedy moves toward the much imitated memorable ending: hundreds of

bullets pump into the pair, who die in slow motion.

• The script was offered to Jean-Luc Godard and Francois Truffaut, who turned it

down, although the influence of the French New Wave is evident in the direction of

Arthur Penn.

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Breathless (A Bout De Souffle)

• Jean-Luc Godard

• Shot like a B movie

• Attempts to recapture the directness and economy of the American gangster movie

by the superb use of location shooting, jump cuts, and a hand held camera.

• The cinematographer Raoul Coutard, who worked on many of the French New Wave

films, was pushed around in a wheelchair, and used as a camera dollie, following the

characters down the street and into buildings.

• In order to achieve an immediacy in the performance, Godard cued the actors, who

were not allowed to learn their lines, during the takes.

• A former critic, Godard consciously broke film conventions but at the same time paid

homage t what he regarded as worth emulating in Hollywood cinema.

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Paying Homage

Jean-Luc Godard’s Bande a Part (1964) A spontaneous synchronized dance in a cafe ~ a scene to

which Quentin Tarantino paid homage in Pulp Fiction