Read e-book online American Cinema of the 1970s: Themes and Variations (Screen PDF

By Peter Lev, David Cook, Frances Gateward, Paula J. Massood, Lester D. Friedman, Michael DeAngelis, Mimi White, Mia Mask, Glenn Man, Frank Tomasulo, Charles Maland

A arrogant look on the seventies-the so-called Me Decade-unveils a kaleidoscope of huge hair, blaring song, and damaged politics-all effortless ambitions for satire, cynicism, and finally even nostalgia. American Cinema of the Seventies, even though, appears past the strobe lighting to bare how profoundly the seventies have encouraged American existence and the way the movies of that decade characterize a height second in cinema heritage. faraway from a placid period, the seventies was once a decade of social upheavals. occasions comparable to the killing of scholars at Kent nation and Jackson kingdom universities, the Watergate investigations, the legalization of abortion, and the tip of the yankee involvement in Vietnam are just a number of one of many landmark occurrences that challenged the principles of yank tradition. The director-driven video clips of this period mirror this turmoil, experimenting with narrative constructions, delivering a gallery of scruffy antiheroes, and revising conventional style conventions. Bringing jointly ten unique essays, American Cinema of the Nineteen Seventies examines the diversity of flicks that marked the last decade, together with Jaws, Rocky, Love tale, Shaft, soiled Harry, The Godfather, Deliverance, The Exorcist, Shampoo, Taxi motive force, big name Wars, Saturday evening Fever, Kramer vs. Kramer, and Apocalypse Now. Lester D. Friedman is the Senior Scholar-in-Residence within the Media and Society application at Hobart and William Smith schools and the writer of diverse books on movie.

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Extra info for American Cinema of the 1970s: Themes and Variations (Screen Decades: American Culture / American Cinema)

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Perhaps it was just more business as usual. The top box office films of the year were Love Story and Airport. Airport, a melodramatic potboiler populated with veteran actors like Burt Lancaster, Dean Martin, Helen Hayes, and George Kennedy, was the first of a cycle of 1970s disaster films known for their all-star casts, multiple plot lines, and catastrophes of natural or human origin. In the case of Airport both sorts of 28 MIMI WHITE disaster were in play, as an airplane tries to land in the middle of an immense snowstorm while a passenger on board is carrying a bomb.

It was just an avalanche of brave new ideas, which is why the 70s was such a watershed” (Biskind, Easy Riders 15). Indeed, by the close of the decade, the five highest grossing films of the decade—Star Wars, Jaws, The Godfather, Grease, and Close Encounters of the Third Kind—had all been made by men under thirty-five years of age (Gilbey 7). As one traces the contours of the noteworthy films of the seventies, the dividing line between the emergence of a director-driven production cycle and a resurgence of the studio package falls around 1975, though one can cite prominent exceptions on either side of this divide.

This was a time when film culture permeated American life in a way it never had before and never has since. Film was no less than a secular religion” (Easy Riders 17). Such hyperbolic assessments belie that fact that terrible movies were made during the 1970s, as during every decade of Hollywood history. It also ignores the jagged dichotomies that sliced up the nation and the film industry during this era, often creating more heat than light. But if this era was not fully a golden age of cinema, then at least it was one where great moviemaking was the gold standard and creative filmmakers consistently tried to grab for the golden ring.

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