Chapter

New Wave Hollywood

Barry Langford

in Post-Classical Hollywood

Published by Edinburgh University Press

Published in print August 2009 | ISBN: 9780748638574
Published online September 2012 | e-ISBN: 9780748671076 | DOI: http://dx.doi.org/10.3366/edinburgh/9780748638574.003.0007
New Wave Hollywood

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Modernist devices, including disjunctive or associative editing, were by no means ubiquitous, any more than all early 1960s French cinema was part of the Nouvelle Vague: the top-grossing films of 1968 and 1970 were the wholly conventional Funny Girl and Airport. Did Hollywood's New Wave amount to anything more than the latest synthesising adjustment of the classical paradigm — ‘trended change’? From the mid-1960s, the major film schools became a means for ambitious young filmmakers to get access to equipment, production skills and ideas. This chapter first examines how the Hollywood Renaissance reordered cinematic time and space before moving on to consider whether, and how, such adjustments shift predominant narrative paradigms. One of the most significant features of the period — which distinguishes it from the modes of Hollywood cinema that preceded and followed it — is the extent to which form and narrative, answering to a specific and intense moment of industrial and social crisis, are consciously mobilised as tools of ideological critique.

Keywords: New Wave; Hollywood; time; space; film schools; Hollywood Renaissance; cinema; narrative; form

Chapter.  10889 words.  Illustrated.

Subjects: Film

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