TCF 112 1st Edition Lecture 10Outline of Last Lecture I. Post-war Hollywood Genres and Social Melodrama and Film Noira. Social Melodramai. Characterized byii. Neorealismb. Film Noiri. Hollywood’s German Expressionismii. Factors Shaping Film Noiriii. Film Noir Characteristicsiv. Legacy of the Film Noirc. Pulp Fiction and Detective Storiesi. Pulp fictionii. “Hard-boiled” Detective Storiesd. The Police ProceduralOutline of Current Lecture I. New Hollywood and the Rise of the Blockbustera. Historicizing New Hollywoodb. Beyond the “CHS” Directorc. New HW Stylei. Common Elementsd. “Film School Brats”e. Birth of the Modern Blockbusteri. Significant ChangesThese notes represent a detailed interpretation of the professor’s lecture. GradeBuddy is best used as a supplement to your own notes, not as a substitute.1. Business of the Blockbuster2. Technology of the Blockbuster3. Culture of the BlockbusterCurrent LectureNew Hollywood and the Rise of the Blockbuster:- Historicizing New Hollywood:Hollywood in financial trouble in mid-to-late 1960sAfter failure, open to untraditional fare and increased tolerance for radical cinemaHW explores social problems via allegory-Bonnie and Clyde 1967-Easy Rider 1968-Wild Bunch 1969Increased interest in European style art films-non-traditional narratives-outside characters-heightened levels of sexuality and violenceUnprecedented number of foreign and soft-core pornographic films began to appear in mainstream theatreThe Production Code weakened and changed; MPAA ratings system-allowed increase in artistic freedom concerning content and consumer choice- Beyond the “CHS” Director:New era in directorial diversityClassical studio system1950s TV directors and media professionalsInternational directorsAmerican film school gradsAmerican indies/trash/art cinema- New HW Style:Common elements:o Offbeat protagonisto Critique of sterile, conservative societyo Mix of comic and dramatico Self-conscious sfxo Graphic use of sex and violenceBonnie and Clyde (1967)Dir Arthur PennGraphic and excessive violenceEasy Rider (1969)Dir Dennis HopperCreative use of flash-forwardsMidnight Cowboy (1969)Dir John SchlesingerGritty realism of location shootingDog Day Afternoon (1975)Dir Sidney LumetCreative casting choices and non-normative sexualitiesM*A*S*H (1970)Dir Robert AltmanAn irreverent look at a war during a time of warAnnie Hall (1977)Dir Woody AllenCreative use of direct address- “Film School Brats”Directors of HW new wave formally educated-experimented with genres-create an “Auteurist Revision”-directors vision (+) genre formula-Blockbuster model-a few notable failures during late 70s brought end to HW new waveApocalypse Now (1979)Dir Francis Ford Coppola (UCCLA)Genre-war filmNew element-war is not noble and is often absurdRaging Bull (1980)Dir Martin Scorsese (NYU)Genre-boxing filmNew element-violence outside the ringClose Encounters of the Third Kind (1977)Dir Steven Spielberg (UC-Long Beach)- Birth of the Modern Blockbuster:1975-TodayCalled Hollywood RenaissanceSaw significant changes in:o Business of the Blockbuster:Studios backed fewer, more audience-friendly filmsNiche films (New HW) took backseat“Blockbuster mentality”-combined high concept narrative with big budgetSimultaneous exhibition and national distribution to limited, regional rolloutBecame part of media conglomerates longer ad campaignFilm openings=national social eventsMost noteworthy early blockbusters:Jaws (1975) and Star Wars (1977)o Technology of the Blockbuster:Development and spread of multiplex; made money from concessions, not ticketsDolby sound and noise-reduction technologyDevelopment of the Steadicamo Culture of the Blockbuster:Rise of cultural conservatism (Reagan elected in 1980)Movement to mainstream charactersMythical feel good movies about Americanism and American powerTop Gun (1986)Back to the Future (1984)Stand By Me (1986)Coming-of-age story; teen culture and