New Hollywood

New Hollywood
Bonnie and Clyde (1967), one of the films that defined New Hollywood
Years active	1960s to 1980s
Location	United States
Influences	Classical Hollywood cinema French New Wave Italian cinema Japanese cinema Art film Experimental film Direct Cinema Golden Age of Television (1950s) B movies American independent film
Influenced	Cinéma du look Poliziotteschi American Eccentric Cinema Peak TV

The New Hollywood, Hollywood Renaissance, or American New Wave, was a movement in American film history from the 1960s to the 1980s, when a new generation of filmmakers came to prominence, although the era extends to starting in the 1950s and ending in the 1990s. They influenced the types of film produced, their production and marketing, and the way major studios approached filmmaking. In New Hollywood films, the film director, rather than the studio, took on a key authorial role.

The definition of "New Hollywood" varies, depending on the author, with some defining it as a movement and others as a period. The span of the period is also a subject of debate, as well as its integrity, as some authors, such as Thomas Schatz, argue that the New Hollywood consists of several different movements. The films made in this movement are stylistically characterized in that their narrative often deviated from classical norms. After the demise of the studio system and the rise of television, the commercial success of films was diminished.

Successful films of the early New Hollywood era include Bonnie and Clyde, The Graduate and Easy Rider while films whose box office failure marked the end of the era include New York, New York, Sorcerer, Heaven's Gate, They All Laughed, and One from the Heart.

It is also the name of a 1990 NBC News special hosted by Tom Brokaw about the then "new" Hollywood industry of the 1980s and early 1990s making epic mainstream blockbusters, personal mid-budget fare and smaller independent efforts.

History

Background

In fact, The Wild Angels was kind of a... it was a big success for the New Hollywood. It was Roger Corman, it was Peter Fonda, Nancy Sinatra, it was a New Hollywood kind of movie, and it was very anti-the Old Hollywood, it was very hard-edged, violent, you know, it was not at all an Old Hollywood movie. And I didn't, I wasn't particularly aware of it. Then the following year was Bonnie and Clyde. Shadows had come out in the early '60s, so that was really the first sign of a kind of off-Hollywood movement.
– Peter Bogdanovich

Following the Paramount Case (which ended block booking and ownership of theater chains by film studios) and the advent of television (where Gore Vidal, Rod Serling, John Frankenheimer, Arthur Penn, Paddy Chayefsky and Sidney Lumet worked in their earlier years), both of which severely weakened both the traditional studio system and the Motion Picture Production Code (or the Hays Code), Hollywood studios initially used spectacle to retain profitability. Technicolor developed a far more widespread use, while widescreen processes and technical improvements, such as CinemaScope, stereo sound, and others, such as 3-D, were invented to retain the dwindling audience and compete with television. However, these were generally unsuccessful in increasing profits. By 1957, Life magazine called the 1950s "the horrible decade" for Hollywood. It was dubbed a "New Hollywood" by a press.

In the 1950s and early 1960s, Hollywood was dominated by musicals, historical epics, and other films that benefited from the larger screens, wider framing, and improved sound. However, audience shares continued to dwindle, and had reached alarmingly low levels by the mid-1960s. Several costly flops, including Doctor Dolittle, Tora! Tora! Tora! and the Julie Andrews vehicle Star!, each failed attempts to replicate the success of Mary Poppins, Doctor Zhivago and The Sound of Music, put great strain on the studios. Both British and American press dismissed filmmakers Alfred Hitchcock and Howard Hawks as "frivolous entertainers and nothing more" while praising more respectable "models of American art films" like Stanley Kramer's Judgment at Nuremberg. American underground cinema was usually regarded as "marginal and parochial" even with the debut features of John Cassavetes (Shadows in 1959) and Shirley Clarke (The Connection in 1961) as both were being praised by Esquire film critic Dwight Macdonald (despite being hostile to other underground titles like Jonas Mekas's 1963 manifestation Guns of the Trees).

By the time the Baby Boomer generation started to come of age in the 1960s, "Old Hollywood" was rapidly losing money; the studios were unsure how to react to the much-changed audience demographics. The change in the market during the period went from a middle-aged high school-educated audience in the mid-1960s to a younger, more affluent, college-educated demographic: by the mid-1970s, 76% of all movie-goers were under 30, 64% of whom had gone to college. European films, both arthouse and commercial (especially the Commedia all'italiana, the French New Wave, the Spaghetti Western), and Japanese cinema were making a splash in the United States – the huge market of disaffected youth seemed to find relevance and artistic meaning in movies like Michelangelo Antonioni's Blowup, with its oblique narrative structure and full-frontal female nudity.

The desperation felt by studios during this period of economic downturn, and after the losses from expensive movie flops, led to innovation and risk-taking, allowing greater control by younger directors and producers. Therefore, in an attempt to capture that audience that found a connection to the "art films" of Europe, the studios hired a host of young filmmakers and allowed them to make their films with relatively little studio control. Some of whom, like actor Jack Nicholson, Dennis Hopper (who also was the main lead in Curtis Harrington's 1961 supernatural thriller Night Tide, distributed by Corman's American International Pictures) and director Peter Bogdanovich, were mentored by "King of the Bs" Roger Corman while others like celebrated cinematographer Vilmos Zsigmond worked for lesser-known B movie directors like Ray Dennis Steckler, known for the 1962 Arch Hall Jr. vehicle Wild Guitar and the 1963 horror musical flick The Incredibly Strange Creatures Who Stopped Living and Became Mixed-Up Zombies. This, together with the breakdown of the Hays Code following the Freedman v. Maryland court case in 1965 and the new ratings system in 1968 (reflecting growing market segmentation) set the scene for the New Hollywood.

Bonnie and Clyde and The Graduate

A defining film of the New Hollywood generation was Bonnie and Clyde (1967). Produced by and starring Warren Beatty and directed by Arthur Penn, its combination of graphic violence and humor, as well as its theme of glamorous disaffected youth, was a hit with audiences. The film eventually won Academy Awards for Best Supporting Actress (Estelle Parsons) and Best Cinematography.

When Jack L. Warner, then-CEO of Warner Bros., first saw a rough cut of Bonnie and Clyde in the summer of 1967, he hated it. Distribution executives at Warner Brothers agreed, giving the film a low-key premiere and limited release. Their strategy appeared justified when Bosley Crowther, middlebrow film critic at The New York Times, gave the movie a scathing review. "It is a cheap piece of bald-faced slapstick comedy," he wrote, "that treats the hideous depredations of that sleazy, moronic pair as though they were as full of fun and frolic as the jazz-age cut-ups in Thoroughly Modern Millie..." Other notices, including those from Time and Newsweek magazines, were equally dismissive.

Its portrayal of violence and ambiguity in regard to moral values, and its startling ending, divided critics. Following one of the negative reviews, Time magazine received letters from fans of the movie, and according to journalist Peter Biskind, the impact of critic Pauline Kael in her positive review of the film (October 1967, New Yorker) led other reviewers to follow her lead and re-evaluate the film (notably Newsweek and Time). Kael drew attention to the innocence of the characters in the film and the artistic merit of the contrast of that with the violence in the film: "In a sense, it is the absence of sadism — it is the violence without sadism — that throws the audience off balance at Bonnie and Clyde. The brutality that comes out of this innocence is far more shocking than the calculated brutalities of mean killers." Kael also noted the reaction of audiences to the violent climax of the movie, and the potential to empathize with the gang of criminals in terms of their naiveté and innocence reflecting a change in expectations of American cinema.

The cover story in Time magazine in December 1967, celebrated the movie and innovation in American New Wave cinema. This influential article by Stefan Kanfer claimed that Bonnie and Clyde represented a "New Cinema" through its blurred genre lines, and disregard for honored aspects of plot and motivation, and that "In both conception and execution, Bonnie and Clyde is a watershed picture, the kind that signals a new style, a new trend." Biskind states that this review and turnaround by some critics allowed the film to be re-released, thus proving its commercial success and reflecting the move toward the New Hollywood. The impact of this film is important in understanding the rest of the American New Wave, as well as the conditions that were necessary for it.

Also released the same year was another era-defining hit about the celebration of youthful rebellion The Graduate, staring Dustin Hoffman, with soundtrack by the popular folk duo Simon & Garfunkel and directed by Mike Nichols (for which he won the film's sole Oscar for Best Director), about Benjamin, a young college graduate rejecting the traditional values of his parents and their hypocritical society alongside a future in "plastics".

These initial successes paved the way for the studio to relinquish almost complete control to these innovative young filmmakers. In the mid-1970s, idiosyncratic, startlingly original films such as Paper Moon, Dog Day Afternoon, Chinatown, and Taxi Driver, among others, enjoyed enormous critical and commercial success. These successes by the members of the New Hollywood led each of them in turn to make more and more extravagant demands, both on the studio and eventually on the audience.

Characteristics

Bonnie and Clyde (1967)

Night of the Living Dead (1968)

2001: A Space Odyssey (1968)

The new generation of Hollywood filmmakers was most importantly, from the studios' view, young, therefore able to reach the youth audience they were losing. This collective of actors, screenwriters and directors, dubbed the "New Hollywood" by the press, briefly changed the business from the producer-driven Hollywood system of the past as Todd Berliner has written about the period's unusual narrative practices.

The 1970s, Berliner says, marks Hollywood's most significant formal transformation since the conversion to sound film and is the defining period separating the storytelling modes of the studio era and contemporary Hollywood. New Hollywood films deviate from classical narrative norms more than Hollywood films from any other era or movement. Their narrative and stylistic devices threaten to derail an otherwise straightforward narration. Berliner argues that five principles govern the narrative strategies characteristic of Hollywood films of the 1970s:

• Seventies films show a perverse tendency to integrate, in narrative incidental ways, story information and stylistic devices counterproductive to the films' overt and essential narrative purposes.
• Hollywood filmmakers of the 1970s often situate their film-making practices in between those of classical Hollywood and those of European and Asian art cinema.
• Seventies films prompt spectator responses more uncertain and discomforting than those of more typical Hollywood cinema.
• Seventies narratives place an uncommon emphasis on irresolution, particularly at the moment of climax or in epilogues, when more conventional Hollywood movies busy themselves tying up loose ends.
• Seventies cinema hinders narrative linearity and momentum and scuttles its potential to generate suspense and excitement.

Seventies cinema also dealt with female identity in the era of second wave feminism, masculine crises featuring flawed male characters, downbeat conclusions and pessimistic subject matters alongside emotional realism in female identity stories, negative attitudes toward authoritative institutions and other aspects of American life and hard-nosed depictions of an America reeling from tense conflicts like The Vietnam War and President Richard Nixon's Watergate scandal. Some New Hollywood titles like Hopper's acid western The Last Movie and Brian De Palma's musical Phantom of the Paradise had more eccentric characteristics including indulgent storylines and dizzying disregard of genre conventions.

Thomas Schatz points to another difference with the Hollywood Golden Age, which deals with the relationship of characters and plot. He argues that plot in classical Hollywood films (and some of the earlier New Hollywood films like The Godfather) "tended to emerge more organically as a function of the drives, desires, motivations, and goals of the central characters". However, beginning with mid-1970s, he points to a trend that "characters became plot functions".

During the height of the studio system, films were made almost exclusively on set in isolated studios. The content of films was limited by the Motion Picture Production Code, and though golden-age film-makers found loopholes in its rules, the discussion of more taboo content through film was effectively prevented. The shift towards a "new realism" was made possible when the Motion Picture Association of America film rating system was introduced and location shooting was becoming more viable. New York City was a favorite spot for this new set of filmmakers due to its gritty and grimy atmosphere.

Because of breakthroughs in film technology (e.g. the Panavision Panaflex camera, introduced in 1972; the Steadicam, introduced in 1976), the New Hollywood filmmakers could shoot 35mm camera film in exteriors with relative ease. Since location shooting was cheaper (no sets need to be built) New Hollywood filmmakers rapidly developed the taste for location shooting, resulting in a more naturalistic approach to filmmaking, especially when compared to the mostly stylized approach of classical Hollywood musicals and spectacles made to compete with television during the 1950s and early 1960s. The documentary films of D.A. Pennebaker, Emile de Antonio, the Maysles Brothers and Frederick Wiseman, among others, also influenced filmmakers of this era.

However, in editing, New Hollywood filmmakers adhered to realism more liberally than most of their classical Hollywood predecessors, often using editing for artistic purposes rather than for continuity alone, a practice inspired by European art films and classical Hollywood directors such as D. W. Griffith and Hitchcock. Films with unorthodox editing included Easy Rider's use of jump cuts (influenced by the works of experimental collage filmmaker Bruce Conner) to foreshadow the climax of the movie, as well as subtler uses, such as those to reflect the feeling of frustration in Bonnie and Clyde, the subjectivity of the protagonist in The Graduate and the passage of time in the famous match cut from 2001: A Space Odyssey. Dense sound design was also commonplace during this era.

Also influential were the works of experimental and structural filmmakers Arthur Lipsett, Stan Brakhage, Bruce Baillie, Jordan Belson, John Whitney, Scott Bartlett, Maya Deren, Andy Warhol, Michael Snow and Kenneth Anger with their combinations of music and imagery and each were cited by George Lucas, Francis Ford Coppola and Martin Scorsese as influences. The New Hollywood generation of directors and screenwriters (each educated at either USC, UCLA, NYU and AFI) such as Coppola, Lucas, Scorsese, Steven Spielberg, John Milius and Paul Schrader were sometimes jokingly labeled as "Movie Brats" or "Young Turks".

The end of the production code enabled New Hollywood films to feature anti-establishment political themes, the use of rock music, and sexual freedom deemed "counter-cultural" by the studios. The youth movement of the 1960s turned anti-heroes like Bonnie and Clyde and Cool Hand Luke into pop-culture idols, and Life magazine called the characters in Easy Rider "part of the fundamental myth central to the counterculture of the late 1960s." Easy Rider also affected the way studios looked to reach the youth market. The success of Midnight Cowboy, in spite of its "X" rating, was evidence for the interest in controversial themes at the time and also showed the weakness of the rating system and segmentation of the audience.

Interpretations on defining the movement

For Peter Biskind, the new wave was foreshadowed by Bonnie and Clyde and began in earnest with Easy Rider. Biskind's book Easy Riders, Raging Bulls argues that the New Hollywood movement marked a significant shift towards independently produced and innovative works by a new wave of directors, but that this shift began to reverse itself when the commercial success of Jaws and Star Wars led to the realization by studios of the importance of blockbusters, advertising and control over production (even though the success of The Godfather was said to be the precursor to the blockbuster phenomenon).

Writing in 1968, critic Pauline Kael argued that the importance of The Graduate was in its social significance in relation to a new young audience, and the role of mass media, rather than any artistic aspects. Kael argued that college students identifying with The Graduate were not too different from audiences identifying with characters in dramas of the previous decade. She also compared this era of cinema to "tangled, bitter flowering of American letters in the 1850s".

Filmmaker Quentin Tarantino identified in his 2022 book Cinema Speculation that:

"regular moviegoers were becoming weary of modern American movies. The darkness, the drug use, the embrace of sensation-the violence, the sex, and the sexual violence. But even more than that, they became weary of the anti-everything cynicism... Was everything a bummer? Was everything a drag? Was every movie about some guy with problems?"

In 1980, film historian/scholar Robert P. Kolker examined New Hollywood film directors in his book A Cinema of Loneliness: Penn, Kubrick, Coppola, Scorsese, Altman, and how their films influenced American society of the 1960s and 1970s. Kolker observed that "for all the challenge and adventure, their films speak to a continual impotence in the world, an inability to change and to create change."

John Belton points to the changing demographic to even younger, more conservative audiences in the mid 1970s (50% aged 12–20) and the move to less politically subversive themes in mainstream cinema, as did Thomas Schatz, who saw the mid- to late 1970s as the decline of the art cinema movement as a significant industry force with its peak in 1974–75 with Nashville and Chinatown.

Geoff King sees the period as an interim movement in American cinema where a conjunction of forces led to a measure of freedom in filmmaking yet also pointed out that scholarships about the era tend to center on two versions: the auteur-driven indie and blockbuster eras. Todd Berliner says that 70s cinema resists the efficiency and harmony that normally characterize classical Hollywood cinema and tests the limits of Hollywood's classical model.

According to author and film critic Charles Taylor (Opening Wednesday at a Theater or Drive-In Near You), he stated that "the 1970s remain the third — and, to date, last — great period in American movies". Author and film critic David Thomson also shared similar sentiments to the point of dubbing the era "the decade when movies mattered".

Video essayist Leigh Singer wrote that this celebrated period revered the epic dramas and serious state-of-the-nation addresses "made by homebred auteurs" (The Last Picture Show, The Godfather, Chinatown, Nashville, Network and Taxi Driver) over less respectable genre pictures.

Author A.D. Jameson (I Find Your Lack of Faith Disturbing), on the other hand, claimed that Star Wars was New Hollywood's finest achievement that actually embodied the characteristics of the respected "serious, sophisticated adult films" while questioning the often-told critical narrative of said "last great decade of American cinema".

Author Julie A. Turnock, in her book Plastic Reality, stated that one common explanation as to why both Star Wars and Close Encounters succeeded was that each film offered hopeful optimism for troubling times as opposed to the "doom and gloom" cinema of the era that audiences were getting tired of with emphasis on mistrust in authority, pessimistic and fatalistic views of the future and anti-heroic aimlessness.

Nathan Rabin, writing for an article commemorating the movie's 40th anniversary at Boston.com in 2015, contested that Jaws, despite being labeled by conventional wisdom as the film that killed the quirky New Hollywood, didn't feel like one by today's vantage point.

Austrian Film Museum, which held a 2013 program entitled The Real Eighties featuring some New Hollywood titles like The King of Comedy, Blow Out and American Gigolo, stated that:

All ills spring from the 1980s. A transitional decade that witnessed the film industry’s restructuring along the lines of President Reagan’s neoliberal agenda, the eighties did away with the last remnants of New Hollywood while laying the foundations for today’s High Concept wasteland – thus goes an all too familiar tale of decline. The retrospective The Real Eighties questions this commonplace of film history and sides with the mainstream of Hollywood cinema: filmic realisms of the 1980s – in immediate proximity to the dream factories of Steven Spielberg or George Lucas, yet at odds with the decade’s political and aesthetic imperatives – await rediscovery.

Daniel Joyaux, writing for Roger Ebert.com on the Criterion Collection's 2024 release of the 1983 Tom Cruise classic Risky Business, shared similar concerns:

There’s a long-held belief about Hollywood history that, from basically the moment “Heaven’s Gate” nearly bankrupted United Artists in 1980 to the moment “Sex, Lies, and Videotape” kicked off the indie boom of the ‘90s, studio executives had an almost pathological aversion to any movie with artistic ambition. There’s at least some truth to this, and seminal texts like Peter Biskind’s 1998 book Easy Riders, Raging Bulls have cooked those kernels of truth into a full-blown mythologizing of ‘70s and ‘90s Hollywood, while the ‘80s remain largely dismissed as a creative wasteland.

Steven Hyden, writing for Grantland, called the Movie Brats the "cinematic version" of classic rock, to the point of roll calling Spielberg as the Beatles, Scorsese as the Velvet Underground, Coppola as Bob Dylan, Lucas as Pink Floyd, Robert Altman as Neil Young, Brian De Palma as Led Zeppelin, Bogdanovich as the Beach Boys and Hal Ashby as the Kinks.

Criticism

Los Angeles Times article film critic Manohla Dargis described New Hollywood as the "halcyon age" of 1970s filmmaking, that "was less revolution than business as usual, with rebel hype". She also pointed out in her New York Times article that the era's enthusiasts insist this was "when American movies grew up (or at least starred underdressed actresses); when directors did what they wanted (or at least were transformed into brands); when creativity ruled (or at least ran gloriously amok, albeit often on the studio's dime)."

Molly Haskell, in her book From Reverence to Rape: The Treatment of Women in the Movies, described how this era of cinema "with its successive revelations, progressed like a stripper, though awkwardly—like a novice in a hurry to get off the stage".

This era was also infamous for its excessive decadence and on-set mishaps (as was the case for Apocalypse Now when the tumultuous production was documented by Eleanor Coppola which in turn became her 1991 documentary Hearts of Darkness: A Filmmaker's Apocalypse). Incidents plaguing the behind-the-scenes of some of the horror films from this era (such as Rosemary's Baby, The Exorcist, Twilight Zone: The Movie, Poltergeist and The Omen) were also the subjects for the docuseries Cursed Films. Even Spielberg, who co-directed/co-produced Twilight Zone with John Landis, was so disgusted by the latter's handling of a deadly helicopter accident that resulted in the death of three actors, that he ended their friendship and publicly called for the end of New Hollywood. When approached by the press about the accident, he stated:

"No movie is worth dying for. I think people are standing up much more now, than ever before, to producers and directors who ask too much. If something isn't safe, it's the right and responsibility of every actor or crew member to yell, 'Cut!'

Turner Classic Movies personality John Malahy, in his book Rewinding the '80s, noted that a growing problem with this era was the director's ego spending millions on elaborate cinematic dreams that almost no one shared (e.g. Cimino's Heaven's Gate).

The Golden Raspberry Awards (better known as The Razzies) emerged during the twilight of this era dishonoring productions such as Freidkin's Cruising and Cimino's Heaven's Gate alongside two megamusicals responsible for setting up the awards Xanadu and Can't Stop the Music (the latter would eventually be crowned the first recipient of Golden Raspberry Award for Worst Picture).

Legacy

The films of New Hollywood influenced future mainstream and independent filmmakers such as Tarantino, Edgar Wright, Paul Thomas Anderson and Noah Baumbach. Todd Phillips's 2019 DC Comics adaptation Joker, alongside the film's period setting, was inspired by the Martin Scorsese classics Taxi Driver and The King of Comedy while Alexander Payne's 2023 film The Holdovers took inspiration from Ashby's works. Tarantino's 2019 Academy Award-winning Once Upon a Time in Hollywood lamented the end of the Golden Age while signalling the beginning of this era. The Godfather Part III; Texasville; and The Two Jakes—each released in 1990—count as "sequels" to three New Hollywood classics, respectively: The Godfather Part II; The Last Picture Show; and Chinatown. (The sequels were directed respectively by Francis Ford Coppola; Peter Bogdanovich; and Jack Nicholson, who played the lead in Polanski's 1974 neo-noir and reprises his role here.)

They also influenced both the Poliziotteschi genre films in Italy and a decade later the Cinéma du look movement in France. The narrative for the 1983 British shot-on-video film Suffer Little Children was influenced in part by Brian De Palma's Carrie and John Carpenter's Halloween.

American Eccentric Cinema has been noted as influenced by this era. Both traditions have similar themes and narratives of existentialism and the need for human interaction. New Hollywood focuses on the darker elements of humanity and society within the context of the American Dream in the mid-1960s to the early 1980s, with themes that were reflective of sociocultural issues and were centered around the potential meaninglessness of pursuing the American Dream as generation upon generation was motivated to possess it. In comparison, American Eccentric Cinema does not have a distinct context, its films show characters who are very individual and their concerns are very distinctive to their own personalities.

The New American Cinema has also been ripe for parody as in Peter Jackson's 1989 Muppet satire Meet the Feebles (spoofing the Russian Roulette scene from The Deer Hunter); Ernie Fosselius's spoofs Hardware Wars (1978) and Porklips Now (1980); Jim Reardon's cult 1986 animated student film Bring Me the Head of Charlie Brown, spoofing Taxi Driver, The Wild Bunch, and Bring Me the Head of Alfredo Garcia; and Canadian video artist Todd Graham's 1987 cult fan film Apocalypse Pooh, a bizarrely comedic mash-up of Disney's Winnie the Pooh and Coppola's Apocalypse Now.

Figures of the movement

Actors

• Brooke Adams
• Alan Alda
• Karen Allen
• Nancy Allen
• Woody Allen
• Susan Anspach
• Alan Arkin
• René Auberjonois
• Dan Aykroyd
• Joe Don Baker
• Anne Bancroft
• Ned Beatty
• Warren Beatty
• Richard Benjamin
• Tom Berenger
• Karen Black
• Linda Blair
• Timothy Bottoms
• Peter Boyle
• Marlon Brando
• Beau Bridges
• Jeff Bridges
• Albert Brooks
• Mel Brooks
• Richard Burton
• Ellen Burstyn
• James Caan
• David Carradine
• Keith Carradine
• Diahann Carroll
• John Cassavetes
• John Cazale
• Julie Christie
• Candy Clark
• Jill Clayburgh
• Glenn Close
• Sean Connery
• Bud Cort
• Bill Cosby
• Brian Cox
• Tom Cruise
• Jamie Lee Curtis
• Willem Dafoe
• Bruce Davison
• Ruby Dee
• Brian Dennehy
• Sandy Dennis
• Robert De Niro
• Bruce Dern
• Danny DeVito
• Matt Dillon
• Ivan Dixon
• Melvyn Douglas
• Michael Douglas
• Brad Dourif
• Richard Dreyfuss
• Faye Dunaway
• Robert Duvall
• Shelley Duvall
• Clint Eastwood
• Peter Falk
• Mia Farrow
• Sally Field
• Jane Fonda
• Peter Fonda
• Harrison Ford
• Jodie Foster
• Teri Garr
• Ben Gazzara
• Richard Gere
• Jeff Goldblum
• Elliott Gould
• Lee Grant
• Charles Grodin
• Pam Grier
• Gene Hackman
• Anthony Michael Hall
• Mark Hamill
• Jessica Harper
• Goldie Hawn
• John Heard
• Buck Henry
• Barbara Hershey
• Judd Hirsch
• Dustin Hoffman
• Anthony Hopkins
• Dennis Hopper
• Ron Howard
• Rock Hudson
• John Hurt
• Mary Beth Hurt
• William Hurt
• Timothy Hutton
• Amy Irving
• Glenda Jackson
• Olivia Newton John
• James Earl Jones
• Madeline Kahn
• Carol Kane
• Diane Keaton
• Harvey Keitel
• Sally Kellerman
• Margot Kidder
• Shirley Knight
• Harvey Korman
• Kris Kristofferson
• Diane Ladd
• Burt Lancaster
• Jessica Lange
• Angela Lansbury
• Piper Laurie
• Cloris Leachman
• Bruce Lee
• Janet Leigh
• Jack Lemmon
• Abbey Lincoln
• Cleavon Little
• John Lithgow
• Gary Lockwood
• Ali MacGraw
• Steve Martin
• Lee Marvin
• Paul Le Mat
• Walter Matthau
• Malcolm McDowell
• Steve McQueen
• Liza Minnelli
• Mary Tyler Moore
• Vic Morrow
• Zero Mostel
• Tony Musante
• Patricia Neal
• Paul Newman
• Jack Nicholson
• Warren Oates
• Ryan O'Neal
• Tatum O'Neal
• Al Pacino
• Dolly Parton
• Anthony Perkins
• Joe Pesci
• Bernadette Peters
• Mackenzie Phillips
• Sidney Poitier
• Michael J. Pollard
• Richard Pryor
• Randy Quaid
• Robert Redford
• Vanessa Redgrave
• Christopher Reeve
• Carl Reiner
• Lee Remick
• Burt Reynolds
• Molly Ringwald
• Jason Robards
• Diana Ross
• Richard Roundtree
• Mickey Rourke
• Gena Rowlands
• Kurt Russell
• Susan Sarandon
• Roy Scheider
• George C. Scott
• George Segal
• Peter Sellers
• Robert Shaw
• Charlie Sheen
• Martin Sheen
• Sam Shepard
• Cybill Shepherd
• Talia Shire
• Paul Simon
• Frank Sinatra
• Tom Skerritt
• Christian Slater
• Charles Martin Smith
• Carrie Snodgress
• Sissy Spacek
• Sylvester Stallone
• Harry Dean Stanton
• Mary Steenburgen
• Rod Steiger
• Dean Stockwell
• Susan Strasberg
• Meryl Streep
• Barbra Streisand
• Donald Sutherland
• Elizabeth Taylor
• Richard Thomas
• Lily Tomlin
• Rip Torn
• John Travolta
• Kathleen Turner
• Cicely Tyson
• Jon Voight
• Christopher Walken
• Jessica Walter
• Sam Waterson
• Sigourney Weaver
• Tuesday Weld
• Gene Wilder
• Debra Winger
• Billy Dee Williams
• Cindy Williams
• Paul Williams
• Robin Williams
• Debra Winger
• Shelley Winters
• James Woods

Directors

• Robert Aldrich
• Woody Allen
• Robert Altman
• Michael Apted
• Hal Ashby
• Aram Avakian
• John G. Avildsen
• John Badham
• Ralph Bakshi
• Paul Bartel
• Saul Bass
• Michael Bay
• Robert Benton
• Bruce Beresford
• John Berry
• Kathryn Bigelow
• Peter Bogdanovich
• John Boorman
• James Bridges
• Albert Brooks
• Mel Brooks
• Richard Brooks
• Charles Burnett
• Tim Burton
• James Cameron
• John Carpenter
• John Cassavetes
• Joyce Chopra
• Michael Cimino
• Shirley Clarke
• Joel & Ethan Coen
• Larry Cohen
• Kathleen Collins
• Martha Coolidge
• Francis Ford Coppola
• Roger Corman
• Wes Craven
• Michael Crichton
• David Cronenberg
• Joe Dante
• Julie Dash
• Ossie Davis
• Jonathan Demme
• Brian De Palma
• Ivan Dixon
• Richard Donner
• Robert Downey Sr.
• Bill Duke
• Daryl Duke
• Clint Eastwood
• Blake Edwards
• Abel Ferrara
• Richard Fleischer
• Miloš Forman
• Mike Figgis
• David Fincher
• Bob Fosse
• John Frankenheimer
• William Friedkin
• Samuel Fuller
• Sidney J. Furie
• Haile Gerima
• Milton Moses Ginsberg
• Ulu Grosbard
• Curtis Harrington
• Amy Heckerling
• Monte Hellman
• Buck Henry
• George Roy Hill
• Jack Hill
• Walter Hill
• Arthur Hiller
• Tobe Hooper
• Dennis Hopper
• Ron Howard
• John Hughes
• Faith Hubley
• John Huston
• Peter Hyams
• Henry Jaglom
• Norman Jewison
• Jonathan Kaplan
• Lawrence Kasdan
• Philip Kaufman
• Elia Kazan
• Irvin Kershner
• Randal Kleiser
• Barbara Kopple
• Ted Kotcheff
• Robert Kramer
• Stanley Kubrick
• John Landis
• Tom Laughlin
• Spike Lee
• Richard Lester
• Barry Levinson
• Steven Lisberger
• Barbara Loden
• George Lucas
• Sidney Lumet
• David Lynch
• Nelson Lyon
• Norman Mailer
• Terrence Malick
• Michael Mann
• Elaine May
• Paul Mazursky
• Jim McBride
• John Milius
• Robert Mulligan
• Floyd Mutrux
• Ronald Neame
• Hal Needham
• Ralph Nelson
• Mike Nichols
• Alan J. Pakula
• Alan Parker
• Gordon Parks
• Ivan Passer
• Sam Peckinpah
• Melvin Van Peebles
• Larry Peerce
• Arthur Penn
• Eagle Pennell
• Frank Perry
• Roman Polanski
• Sydney Pollack
• Abraham Polonsky
• Ted Post
• Otto Preminger
• Bob Rafelson
• Robert Redford
• Julia Reichert
• Rob Reiner
• Karel Reisz
• Michael Ritchie
• Martin Ritt
• Mark Robson
• Robert Rodriguez
• Nicolas Roeg
• Michael Roemer
• George A. Romero
• Stuart Rosenberg
• Herbert Ross
• Stephanie Rothman
• Alan Rudolph
• Richard Rush
• Mark Rydell
• Richard C. Sarafian
• John Sayles
• Franklin J. Schaffner
• Jerry Schatzberg
• John Schlesinger
• Paul Schrader
• Michael Schultz
• Martin Scorsese
• Ridley Scott
• Susan Seidelman
• Don Siegel
• Joan Micklin Silver
• John Singleton
• Steven Soderbergh
• Penelope Spheeris
• Steven Spielberg
• Oliver Stone
• Barbara Streisand
• Mel Stuart
• James Toback
• Douglas Trumbull
• Paul Verhoeven
• Michael Wadleigh
• Peter Watkins
• Claudia Weill
• Wim Wenders
• Haskell Wexler
• Michael Winner
• Frederick Wiseman
• Fronza Woods
• Peter Yates
• Robert M. Young
• Fred Zinnemann
• David Zucker, Jim Abrahams, & Jerry Zucker

Others

• Dede Allen
• Irwin Allen
• John Alcott
• Nestor Almendros
• John A. Alonzo
• Steven Bach
• Burt Bacharach
• Scott Bartlett
• Elaine & Saul Bass
• Elmer Bernstein
• Don Bluth
• Claude Bolling
• Chuck Braverman
• Jerry Bruckheimer
• Ben Burtt
• Gerald Busby
• Bill Butler
• William Peter Blatty
• Wendy Carlos
• John Carpenter
• Allan Carr
• Michael Chapman
• Paddy Chayefsky
• Robert Chartoff
• Wang Chung
• Bill Conti
• Stewart Copeland
• Stanley Cortez
• Jordan Cronenweth
• Sally Cruikshank
• Hal David
• Dino De Laurentiis
• Caleb Deschanel
• Ernest Dickerson
• Pino Donaggio
• Nancy Dowd
• Tangerine Dream
• Bob Dylan
• Roger Ebert
• Robert Evans
• Pablo Ferro
• Jules Feiffer
• Pink Floyd
• William A. Fraker
• Tak Fujimoto
• Bob Gale
• The Bee Gees
• Bo Goldman
• William Goldman
• Anthony Goldschmidt
• Jerry Goldsmith
• Berry Gordy
• Michael Gore
• Brian Grazer
• Conrad L. Hall
• Herbie Hancock
• Bo Harwood
• Issac Hayes
• Bernard Herrmann
• Debra Hill
• James Horner
• Alan Howarth
• James Wong Howe
• John Hughes
• Willard Huyck
• Quincy Jones
• Adrien Joyce
• Pauline Kael
• Jeff Kanew
• Gloria Katz
• Boris Kaufman
• László Kovács
• Alan Ladd Jr.
• Ring Lardner Jr.
• Michel Legrand
• Ernest Lehman
• Boris Leven
• Barry Malkin
• David Mamet
• Johnny Mandel
• Curtis Mayfield
• The Monkees
• Giorgio Moroder
• Ennio Morricone
• Robby Müller
• Walter Murch
• Hal Needham
• David Newman
• Randy Newman
• Harry Nilsson
• Jack Nitzsche
• Dan O'Bannon
• Van Dyke Parks
• Dan Perri
• Eleanor Perry
• Michael & Julia Phillips
• Polly Platt
• Nicolas Roeg
• Fred Roos
• Nino Rota
• Owen Roizman
• Albert S. Ruddy
• Alvin Sargent
• Waldo Salt
• Andrew Sarris
• John Sayles
• Lalo Schifrin
• Bert Schneider
• Thelma Schoonmaker
• John Patrick Shanley
• David Shire
• Ronald Shusett
• Stirling Silliphant
• Alan Silvestri
• Simon & Garfunkel
• Don Simpson
• Gene Siskel
• Terry Southern
• Spirit
• Ray Stark
• Cat Stevens
• Robert Stigwood
• Oliver Stone
• Vittorio Storaro
• Robert Surtees
• Robert Towne
• Donald Trumbull
• Vangelis
• Tom Waits
• Bob Weinstein
• Harvey Weinstein
• Haskell Wexler
• John Williams
• Paul Williams
• Gordon Willis
• John David Wilson
• Irwin Winkler
• David L. Wolper
• Frank Yablans
• Danny Zeitlin
• Robert Zemeckis
• Vilmos Zsigmond

Notable studios associated with New Hollywood

• 20th Century Fox
• American International Pictures
• American Zoetrope
• BBS Productions
• Cannon Films
• Castle Rock Entertainment
• Columbia Pictures
• Embassy Pictures
• Filmways Pictures
• Hemdale Film Corporation
• MGM
• Miramax
• New Line Cinema
• New World Pictures
• Orion Pictures
• Paramount Pictures
• United Artists
• Universal Pictures
• Walt Disney Productions
• Warner Bros.

Films of the movement

This is a dynamic list and may never be able to satisfy particular standards for completeness. You can help by editing the page to add missing items, with references to reliable sources.

This is a chronological list of films that are generally considered to be "New Hollywood" productions:

1950s–1960s

1957–1966

• 12 Angry Men (1957) ≈ ≠
• The Strange One (1957)
• Sweet Smell of Success (1957)
• The Left Handed Gun (1958)
• Murder by Contract (1958)
• Shadows (1958) ≈
• Touch of Evil (1958) ≈
• Anatomy of a Murder (1959) ≈
• Come Back, Africa (1959)
• Pull My Daisy (1959) ≈
• The Savage Eye (1959)
• Skyscraper (1959)
• The Apartment (1960) ≈ ≠
• Let No Man Write My Epitaph (1960)
• Private Property (1960)
• Primary (1960) ≈
• Wild River (1960) ≈
• Blast of Silence (1961)
• The Children's Hour (1961)
• The Connection (1961)
• The Hustler (1961) ≈
• The Misfits (1961)
• Night Tide (1961)
• One-Eyed Jacks (1961) ≈
• Splendor in the Grass (1961)
• David and Lisa (1962)
• Days of Wine and Roses (1962) ≈
• Experiment in Terror (1962)
• Lolita (1962)
• Lonely Are the Brave (1962)
• The Manchurian Candidate (1962) ≈
• The Miracle Worker (1962) ≈
• Pressure Point (1962)
• Two for the Seesaw (1962)
• What Ever Happened to Baby Jane? (1962) ≈
• The World's Greatest Sinner (1962)
• America America (1963) ≈
• The Cardinal (1963)
• A Child Is Waiting (1963)
• The Cool World (1963) ≈
• The Great Escape (1963)
• Hallelujah the Hills (1963)
• Hud (1963) ≈
• Ladybug, Ladybug (1963)
• Lilies of the Field (1963) ≈
• Love with the Proper Stranger (1963)
• Shock Corridor (1963) ≈
• The Queen of Sheba Meets the Atom Man (1963)
• The Brig (1964)
• Dr. Strangelove, or: How I Learned to Stop Worrying and Love the Bomb (1964) ≈ ≠
• Fail Safe (1964)
• The Killers (1964)
• Lilith (1964)
• Nothing but a Man (1964) ≈
• One Potato, Two Potato (1964)
• The Pawnbroker (1964) ≈
• Brainstorm (1965)
• Faster, Pussycat! Kill! Kill! (1965)
• The Hill (1965)
• Inside Daisy Clover (1965)
• The Loved One (1965)
• Mickey One (1965)
• None but the Brave (1965)
• Once a Thief (1965)
• Rat Fink (1965)
• The Slender Thread (1965)
• The Sound of Music (1965) ≈ ≠
• A Thousand Clowns (1965)
• Who Killed Teddy Bear? (1965)
• Young Dillinger (1965)
• An American Dream (1966)
• The Chase (1966)
• Dutchman (1966)
• Grand Prix (1966)
• The Group (1966)
• Hold Me While I'm Naked (1966)
• Lord Love a Duck (1966)
• A Man Called Adam (1966)
• Our Man Flint (1966)
• The Professionals (1966)
• Ride in the Whirlwind (1966)
• The Sand Pebbles (1966)
• Seconds (1966) ≈
• The Shooting (1966)
• This Property Is Condemned (1966)
• Who's Afraid of Virginia Woolf? (1966) ≈ ≠
• The Wild Angels (1966)
• You're a Big Boy Now (1966)

1967–1969

• Barefoot in the Park (1967)
• Bonnie and Clyde (1967) ≈ ≠
• The Born Losers (1967)
• Cool Hand Luke (1967) ≈
• Countdown (1967)
• David Holzman's Diary (1967) ≈
• The Dirty Dozen (1967)
• Dont Look Back (1967) ≈
• Games (1967)
• The Graduate (1967) ≈ ≠
• Guess Who's Coming to Dinner? (1967)
• Hells Angels on Wheels (1967)
• Hombre (1967)
• In Cold Blood (1967) ≈
• In the Heat of the Night (1967) ≈ ≠
• The Incident (1967)
• Point Blank (1967) ≈
• Portrait of Jason (1967) ≈
• The President's Analyst (1967)
• The Producers (1967) ≈
• Reflections in a Golden Eye (1967)
• Spring Night, Summer Night (1967)
• Sweet Love, Bitter (1967)
• Titicut Follies (1967) ≈
• The Trip (1967)
• Two for the Road (1967)
• Up the Down Staircase (1967)
• Valley of the Dolls (1967)
• Wait Until Dark (1967)
• Who's That Knocking at My Door? (1967)
• 2001: A Space Odyssey (1968) ≈ ≠
• The Boston Strangler (1968)
• The Brotherhood (1968)
• Bullitt (1968) ≈
• Bye Bye Braverman (1968)
• Coogan's Bluff (1968)
• The Detective (1968)
• The Edge (1968)
• Faces (1968) ≈
• Finian's Rainbow (1968)
• Funny Girl (1968) ≈
• Greetings (1968)
• Head (1968)
• Hell in the Pacific (1968)
• High School (1968) ≈
• I Love You, Alice B. Toklas (1968)
• The Legend of Lylah Clare (1968)
• Madigan (1968)
• Monterey Pop (1968) ≈
• Night of the Living Dead (1968) ≈
• No Way to Treat a Lady (1968)
• The Night They Raided Minsky's (1968)
• The Party (1968)
• Petulia (1968)
• Planet of the Apes (1968) ≈
• Pretty Poison (1968)
• Psych-Out (1968)
• Rachel, Rachel (1968)
• Rosemary's Baby (1968) ≈
• The Sergeant (1968)
• Skidoo (1968)
• The Split (1968)
• The Swimmer (1968)
• Targets (1968)
• The Thomas Crown Affair (1968) ≈
• UpTight! (1968)
• Wild in the Streets (1968)
• Will Penny (1968)
• Alice's Restaurant (1969)
• Angel, Angel, Down We Go (1969)
• The Arrangement (1969)
• Bob & Carol & Ted & Alice (1969)
• Butch Cassidy and the Sundance Kid (1969) ≈ ≠
• Castle Keep (1969)
• Changes (1969)
• Coming Apart (1969)
• Downhill Racer (1969)
• Easy Rider (1969) ≈ ≠
• Goodbye, Columbus (1969)
• The Gypsy Moths (1969)
• The Happy Ending (1969)
• Hell's Angels '69 (1969)
• Jenny (1969)
• John and Mary (1969)
• Last Summer (1969)
• The Learning Tree (1969) ≈
• Lions Love (1969)
• Marlowe (1969)
• Marooned (1969)
• Me, Natalie (1969)
• Medium Cool (1969) ≈
• Midnight Cowboy (1969) ≈
• Model Shop (1969)
• On Her Majesty's Secret Service (1969)
• Out of It (1969)
• Pit Stop (1969)
• Popi (1969)
• Putney Swope (1969) ≈
• The Rain People (1969)
• Salesman (1969) ≈
• The Sterile Cuckoo (1969)
• Sweet Charity (1969)
• Take the Money and Run (1969)
• Tell Them Willie Boy Is Here (1969)
• That Cold Day in the Park (1969)
• They Shoot Horses, Don't They? (1969)
• A Time for Dying (1969)
• Topaz (1969)
• True Grit (1969)
• The Wedding Party (1969)
• What Ever Happened to Aunt Alice? (1969)
• The Wild Bunch (1969) ≈ ≠

1970s

1970–1971

• Adam at 6 A.M. (1970)
• Airport (1970)
• Alex in Wonderland (1970)
• The Baby Maker (1970)
• The Ballad of Cable Hogue (1970)
• Beneath the Planet of the Apes (1970)
• Beyond the Valley of the Dolls (1970)
• Bloody Mama (1970)
• The Boys in the Band (1970)
• Brewster McCloud (1970)
• Catch-22 (1970)
• Cotton Comes to Harlem (1970)
• Cover Me Babe (1970)
• Diary of a Mad Housewife (1970)
• Didn't You Hear? (1970)
• End of the Road (1970)
• Five Easy Pieces (1970) ≈
• Flap (1970)
• Gas-s-s-s (1970)
• Getting Straight (1970)
• Gimme Shelter (1970)
• The Great White Hope (1970)
• Halls of Anger (1970)
• Hi, Mom! (1970)
• The Honeymoon Killers (1970)
• Husbands (1970)
• I Am Somebody (1970) ≈
• Ice (1970)
• I Love My...Wife (1970)
• I Never Sang for My Father (1970)
• I Walk the Line (1970)
• Joe (1970)
• Kelly's Heroes (1970)
• The Landlord (1970)
• Last of the Mobile Hot Shots (1970)
• The Liberation of L.B. Jones (1970)
• Little Big Man (1970) ≈
• Little Fauss and Big Halsy (1970)
• Love Story (1970)
• Loving (1970)
• The Magic Garden of Stanley Sweetheart (1970)
• Maidstone (1970)
• A Man Called Horse (1970)
• M*A*S*H (1970) ≈ ≠
• Move (1970)
• Myra Breckinridge (1970)
• On a Clear Day You Can See Forever (1970)
• The Owl and the Pussycat (1970)
• Patton (1970) ≈
• The People Next Door (1970)
• Puzzle of a Downfall Child (1970)
• Quackser Fortune Has a Cousin in the Bronx (1970)
• The Revolutionary (1970)
• R.P.M. (1970)
• The Sidelong Glances of a Pigeon Kicker (1970)
• Soldier Blue (1970)
• Something for Everyone (1970)
• Start the Revolution Without Me (1970)
• Stop! (1970)
• The Strawberry Statement (1970)
• Street Scenes 1970 (1970)
• The Student Nurses (1970)
• Tell Me That You Love Me, Junie Moon (1970)
• ...Tick...Tick...Tick... (1970)
• The Traveling Executioner (1970)
• Tropic of Cancer (1970)
• Two Mules for Sister Sara (1970)
• Wanda (1970) ≈
• Watermelon Man (1970)
• Where's Poppa? (1970)
• Woodstock (1970) ≈
• WUSA (1970)
• Zabriskie Point (1970)
• $ (1971)
• The American Dreamer (1971)
• The Anderson Tapes (1971)
• The Andromeda Strain (1971)
• Bananas (1971)
• Been Down So Long It Looks Like Up to Me (1971)
• The Beguiled (1971)
• Billy Jack (1971)
• Born to Win (1971)
• Carnal Knowledge (1971)
• Chandler (1971)
• The Christian Licorice Store (1971)
• Cisco Pike (1971)
• A Clockwork Orange (1971) ≈ ≠
• Desperate Characters (1971)
• Dirty Harry (1971) ≈
• "Doc" (1971)
• Drive, He Said (1971)
• Duel (1971)
• Dusty and Sweets McGee (1971)
• Escape from the Planet of the Apes (1971)
• Fiddler on the Roof (1971)
• The French Connection (1971) ≈ ≠
• Glen and Randa (1971)
• Growing Up Female (1971) ≈
• Happy Birthday, Wanda June (1971)
• Harold and Maude (1971) ≈
• The Hired Hand (1971)
• The Horsemen (1971)
• The Hospital (1971) ≈
• The Hunting Party (1971)
• Jennifer on My Mind (1971)
• Johnny Got His Gun (1971)
• Klute (1971)
• The Last Movie (1971)
• The Last Picture Show (1971) ≈ ≠
• The Last Run (1971)
• Let's Scare Jessica to Death (1971)
• Little Murders (1971)
• Making It (1971)
• McCabe & Mrs. Miller (1971) ≈
• Minnie and Moskowitz (1971)
• A New Leaf (1971) ≈
• The Panic in Needle Park (1971)
• Play Misty for Me (1971)
• Pretty Maids All in a Row (1971)
• Punishment Park (1971)
• The Pursuit of Happiness (1971)
• A Safe Place (1971)
• Shaft (1971) ≈
• Some of My Best Friends Are... (1971)
• Sometimes a Great Notion (1971)
• The Sporting Club (1971)
• Straw Dogs (1971)
• Such Good Friends (1971)
• Summer of '42 (1971)
• Sweet Sweetback's Baadasssss Song (1971) ≈
• Taking Off (1971)
• The Telephone Book (1971)
• They Might Be Giants (1971)
• THX 1138 (1971)
• The Todd Killings (1971)
• The Touch (1971)
• T.R. Baskin (1971)
• Two-Lane Blacktop (1971) ≈
• Vanishing Point (1971)
• Walkabout (1971)
• Welcome Home, Soldier Boys (1971)
• What's the Matter with Helen? (1971)
• Who Is Harry Kellerman and Why Is He Saying Those Terrible Things About Me? (1971)
• Wild Rovers (1971)
• Willy Wonka & the Chocolate Factory (1971) ≈

1972–1973

• Across 110th Street (1972)
• Bad Company (1972)
• Bone (1972)
• Boxcar Bertha (1972)
• Butterflies Are Free (1972)
• Cabaret (1972) ≈ ≠
• The Candidate (1972)
• The Carey Treatment (1972)
• Child's Play (1972)
• Conquest of the Planet of the Apes (1972)
• Cry for Me, Billy (1972)
• The Culpepper Cattle Co. (1972)
• Deadhead Miles (1972)
• Dealing: Or the Berkeley-to-Boston Forty-Brick Lost-Bag Blues (1972)
• Deliverance (1972) ≈
• The Effect of Gamma Rays on Man-in-the-Moon Marigolds (1972)
• Everything You Always Wanted to Know About Sex* (*But Were Afraid to Ask) (1972)
• Fat City (1972)
• Fritz the Cat (1972)
• Frogs (1972)
• Fuzz (1972)
• Get to Know Your Rabbit (1972)
• The Getaway (1972)
• The Godfather (1972) ≈ ≠
• The Great Northfield, Minnesota Raid (1972)
• The Heartbreak Kid (1972)
• Hickey & Boggs (1972)
• The Hot Rock (1972)
• Images (1972)
• Jeremiah Johnson (1972)
• Junior Bonner (1972)
• Kansas City Bomber (1972)
• The King of Marvin Gardens (1972)
• Lady Sings the Blues (1972)
• Last of the Red Hot Lovers (1972)
• The Last House on the Left (1972)
• The Life and Times of Judge Roy Bean (1972)
• Limbo (1972)
• The Limit (1972)
• The Loners (1972)
• The Mechanic (1972)
• The New Centurions (1972)
• The Other (1972)
• Painters Painting (1972)
• Pete 'n' Tillie (1972)
• Pink Flamingos (1972) ≈
• Play It Again, Sam (1972)
• Play It as It Lays (1972)
• Pocket Money (1972)
• Portnoy's Complaint (1972)
• The Poseidon Adventure (1972)
• The Possession of Joel Delaney (1972)
• Prime Cut (1972)
• Silent Running (1972)
• Sisters (1972)
• Slaughterhouse-Five (1972)
• Sounder (1972) ≈
• Super Fly (1972) ≈
• Thumb Tripping (1972)
• To Find a Man (1972)
• To Kill a Clown (1972)
• Tomorrow (1972)
• Ulzana's Raid (1972)
• Unholy Rollers (1972)
• The Visitors (1972)
• What's Up, Doc? (1972)
• You'll Like My Mother (1972)
• American Graffiti (1973) ≈ ≠
• The Baby (1973)
• Badge 373 (1973)
• Badlands (1973) ≈
• Bang the Drum Slowly (1973)
• Battle for the Planet of the Apes (1973)
• Blume in Love (1973)
• Breezy (1973)
• Charley Varrick (1973)
• Cinderella Liberty (1973)
• Coffy (1973)
• Cops and Robbers (1973)
• The Day of the Dolphin (1973)
• Dillinger (1973)
• The Don Is Dead (1973)
• Electra Glide in Blue (1973)
• Emperor of the North Pole (1973)
• Enter the Dragon (1973) ≈
• The Exorcist (1973) ≈
• The Friends of Eddie Coyle (1973)
• Heavy Traffic (1973)
• High Plains Drifter (1973)
• The Iceman Cometh (1973)
• Jesus Christ Superstar (1973)
• Kid Blue (1973)
• The Killing Kind (1973)
• The Last American Hero (1973)
• The Last Detail (1973)
• The Last of Sheila (1973)
• The Laughing Policeman (1973)
• Lolly-Madonna XXX (1973)
• The Long Goodbye (1973) ≈
• Love and Pain and the Whole Damn Thing (1973)
• The MacKintosh Man (1973)
• Magnum Force (1973)
• Mean Streets (1973) ≈
• The Outfit (1973)
• The Paper Chase (1973)
• Paper Moon (1973)
• Papillon (1973)
• Pat Garrett and Billy the Kid (1973)
• Payday (1973)
• Road Movie (1973)
• Save the Tiger (1973)
• Scarecrow (1973)
• Serpico (1973)
• The Seven-Ups (1973)
• Sleeper (1973)
• Slither (1973)
• Soylent Green (1973)
• The Spook Who Sat by the Door (1973) ≈
• Sssssss (1973)
• Steelyard Blues (1973)
• The Sting (1973) ≈
• Terminal Island (1973)
• Walking Tall (1973)
• Wattstax (1973) ≈
• The Way We Were (1973)
• Westworld (1973)
• White Lightning (1973)

1974–1975

• 99 and 44/100% Dead (1974)
• Alice Doesn't Live Here Anymore (1974)
• Blazing Saddles (1974) ≈
• Buster and Billie (1974)
• Busting (1974)
• Bring Me the Head of Alfredo Garcia (1974)
• Caged Heat (1974)
• California Split (1974)
• Chinatown (1974) ≈ ≠
• Claudine (1974)
• Cockfighter (1974)
• The Conversation (1974) ≈
• Crazy Joe (1974)
• Daisy Miller (1974)
• Dark Star (1974)
• Death Wish (1974)
• The Dion Brothers (1974)
• Dirty Mary, Crazy Larry (1974)
• Earthquake (1974)
• Female Trouble (1974)
• For Pete's Sake (1974)
• Foxy Brown (1974)
• Freebie and the Bean (1974)
• The Gambler (1974)
• Ganja & Hess (1974) ≈
• Ginger in the Morning (1974)
• The Godfather Part II (1974) ≈ ≠
• The Great Gatsby (1974)
• Harry and Tonto (1974)
• Hearts and Minds (1974) ≈
• Law and Disorder (1974)
• Lenny (1974)
• The Longest Yard (1974)
• The Lords of Flatbush (1974)
• Lovin' Molly (1974)
• Luther (1974)
• Macon County Line (1974)
• Man on a Swing (1974)
• McQ (1974)
• Messiah of Evil (1974)
• The Nickel Ride (1974)
• The Parallax View (1974)
• Phantom of the Paradise (1974)
• Phase IV (1974)
• Shanks (1974)
• The Spikes Gang (1974)
• The Sugarland Express (1974)
• The Super Cops (1974)
• The Taking of Pelham One Two Three (1974)
• The Texas Chain Saw Massacre (1974) ≈
• Thieves Like Us (1974)
• Thunderbolt and Lightfoot (1974)
• The Towering Inferno (1974)
• Uptown Saturday Night (1974) ≈
• The White Dawn (1974)
• Who? (1974)
• A Woman Under the Influence (1974) ≈
• The Yakuza (1974)
• Young Frankenstein (1974) ≈
• Zardoz (1974)
• 92 in the Shade (1975)
• Aloha, Bobby and Rose (1975)
• At Long Last Love (1975)
• Barry Lyndon (1975)
• Bite the Bullet (1975)
• Cooley High (1975) ≈
• Coonskin (1975)
• The Day of the Locust (1975)
• Dog Day Afternoon (1975) ≈
• The Drowning Pool (1975)
• The Eiger Sanction (1975)
• Farewell, My Lovely (1975)
• French Connection II (1975)
• Funny Lady (1975)
• The Great Waldo Pepper (1975)
• Hard Times (1975)
• Hester Street (1975) ≈
• The Human Factor (1975)
• Hustle (1975)
• Jaws (1975) ≈ ≠
• The Killer Elite (1975)
• Let's Do It Again (1975)
• Loose Ends (1975)
• Love and Death (1975)
• Lucky Lady (1975)
• Milestones (1975)
• Nashville (1975) ≈ ≠
• Night Moves (1975)
• One Flew Over the Cuckoo's Nest (1975) ≈ ≠
• The Prisoner of Second Avenue (1975)
• Race with the Devil (1975)
• Rafferty and the Gold Dust Twins (1975)
• Rancho Deluxe (1975)
• Report to the Commissioner (1975)
• The Rocky Horror Picture Show (1975) ≈
• Rollerball (1975)
• Shampoo (1975)
• Smile (1975)
• The Stepford Wives (1975)
• The Sunshine Boys (1975)
• Three Days of the Condor (1975)
• The Wind and the Lion (1975)

1976–1977

• All the President's Men (1976) ≈ ≠
• Assault on Precinct 13 (1976)
• The Bad News Bears (1976)
• Bound for Glory (1976)
• Buffalo Bill and the Indians, or Sitting Bull's History Lesson (1976)
• Car Wash (1976)
• Carrie (1976) ≈
• Family Plot (1976)
• Fighting Mad (1976)
• The First Nudie Musical (1976)
• The Front (1976)
• Futureworld (1976)
• God Told Me To (1976)
• Harlan County, USA (1976) ≈
• Harry and Walter Go to New York (1976)
• Heartworn Highways (1976)
• The Killer Inside Me (1976)
• The Killing of a Chinese Bookie (1976)
• The Last Tycoon (1976)
• Leadbelly (1976)
• Lifeguard (1976)
• Logan's Run (1976)
• Marathon Man (1976)
• Mikey and Nicky (1976)
• The Missouri Breaks (1976)
• Mother, Jugs and Speed (1976)
• Network (1976) ≈ ≠
• Next Stop, Greenwich Village (1976)
• Nickelodeon (1976)
• Not a Pretty Picture (1976)
• Obsession (1976)
• The Omen (1976)
• The Outlaw Josey Wales (1976) ≈
• Rocky (1976) ≈ ≠
• The Shootist (1976)
• Silver Streak (1976)
• A Star Is Born (1976)
• Stay Hungry (1976)
• Sweet Revenge (1976)
• Taxi Driver (1976) ≈ ≠
• Trackdown (1976)
• Tracks (1976)
• Underground (1976)
• Voyage of the Damned (1976)
• Welcome to L.A. (1976)
• 3 Women (1977)
• Alambrista! (1977) ≈
• Annie Hall (1977) ≈ ≠
• Audrey Rose (1977)
• Between the Lines (1977)
• Black Sunday (1977)
• Bobby Deerfield (1977)
• Close Encounters of the Third Kind (1977) ≈
• The Domino Principle (1977)
• Equus (1977)
• Eraserhead (1977) ≈
• Exorcist II: The Heretic (1977)
• Fun with Dick and Jane (1977)
• The Gauntlet (1977)
• The Goodbye Girl (1977)
• Grand Theft Auto (1977)
• Handle with Care (1977)
• A Hell of a Note (1977)
• Heroes (1977)
• High Anxiety (1977)
• The Hills Have Eyes (1977)
• I Never Promised You a Rose Garden (1977)
• Islands in the Stream (1977)
• Joyride (1977)
• Julia (1977)
• The Kentucky Fried Movie (1977)
• Last Chants for a Slow Dance (1977)
• The Late Show (1977)
• Looking for Mr. Goodbar (1977)
• Martin (1977)
• New York, New York (1977)
• Opening Night (1977)
• The Other Side of Midnight (1977)
• The Private Files of J. Edgar Hoover (1977)
• Rolling Thunder (1977)
• Saturday Night Fever (1977) ≈
• Semi-Tough (1977)
• The Sentinel (1977)
• September 30, 1955 (1977)
• Short Eyes (1977)
• Slap Shot (1977)
• Smokey and the Bandit (1977)
• Sorcerer (1977)
• Star Wars (1977) ≈ ≠
• The Turning Point (1977)
• Twilight's Last Gleaming (1977)
• Which Way Is Up? (1977)
• Wizards (1977)

1978–1979

• American Boy: A Profile of Steven Prince (1978)
• American Hot Wax (1978)
• The Big Fix (1978)
• Big Wednesday (1978)
• Bloodbrothers (1978)
• Blue Collar (1978)
• The Brink's Job (1978)
• The Buddy Holly Story (1978)
• California Suite (1978)
• Capricorn One (1978)
• Coma (1978)
• Comes a Horseman (1978)
• Coming Home (1978)
• Convoy (1978)
• Corvette Summer (1978)
• Dawn of the Dead (1978)
• Days of Heaven (1978) ≈
• The Deer Hunter (1978) ≈ ≠
• The Driver (1978)
• Every Which Way but Loose (1978)
• Eyes of Laura Mars (1978)
• Fingers (1978)
• F.I.S.T. (1978)
• Foul Play (1978)
• The Fury (1978)
• Girlfriends (1978) ≈
• Go Tell the Spartans (1978)
• Goin' South (1978)
• Grease (1978) ≈
• Halloween (1978) ≈
• Heaven Can Wait (1978)
• Ice Castles (1978)
• Interiors (1978)
• Invasion of the Body Snatchers (1978)
• Killer of Sheep (1978) ≈
• King of the Gypsies (1978)
• The Last Waltz (1978) ≈
• The Lord of the Rings (1978)
• Magic (1978)
• Midnight Express (1978)
• Movie Movie (1978)
• National Lampoon's Animal House (1978) ≈
• Northern Lights (1978)
• On the Yard (1978)
• Paradise Alley (1978)
• Remember My Name (1978)
• Same Time, Next Year (1978)
• The Scenic Route (1978)
• Sgt. Pepper's Lonely Hearts Club Band (1978)
• Stony Island (1978)
• Straight Time (1978)
• Superman (1978) ≈
• Uncle Joe Shannon (1978)
• An Unmarried Woman (1978)
• A Wedding (1978)
• The Whole Shootin' Match (1978)
• Who'll Stop the Rain (1978)
• The Wiz (1978)
• 10 (1979)
• 1941 (1979)
• Alien (1979) ≈
• All That Jazz (1979) ≈
• An Almost Perfect Affair (1979)
• Americathon (1979)
• ...And Justice for All. (1979)
• Apocalypse Now (1979) ≈ ≠
• Being There (1979) ≈
• The Black Stallion (1979) ≈
• Breaking Away (1979)
• Bush Mama (1979) ≈
• Chilly Scenes of Winter (1979)
• The China Syndrome (1979)
• The Driller Killer (1979)
• The Electric Horseman (1979)
• Escape from Alcatraz (1979)
• Going in Style (1979)
• Good Luck, Miss Wyckoff (1979)
• The Great Santini (1979)
• Hair (1979)
• Hardcore (1979)
• The In-Laws (1979)
• Killing Time (1979)
• Kramer vs. Kramer (1979)
• The Lady in Red (1979)
• Last Embrace (1979)
• Manhattan (1979) ≈
• More American Graffiti (1979)
• Natural Enemies (1979)
• Norma Rae (1979) ≈
• North Dallas Forty (1979)
• Old Boyfriends (1979)
• The Onion Field (1979)
• Over the Edge (1979)
• A Perfect Couple (1979)
• Promises in the Dark (1979)
• Quintet (1979)
• Real Life (1979)
• Rocky II (1979)
• The Rose (1979)
• Saint Jack (1979)
• The Seduction of Joe Tynan (1979)
• Star Trek: The Motion Picture (1979)
• Starting Over (1979)
• The Wanderers (1979)
• The Warriors (1979)
• When a Stranger Calls (1979)
• When You Comin' Back, Red Ryder? (1979)
• Winter Kills (1979)
• Wise Blood (1979)

1980s–1990s

1980–1982

• 9 to 5 (1980)
• Airplane! (1980) ≈
• American Gigolo (1980)
• Any Which Way You Can (1980)
• Atlantic City (1980) ≈
• The Blue Lagoon (1980)
• The Blues Brothers (1980) ≈
• Bronco Billy (1980)
• Brubaker (1980)
• Can't Stop the Music (1980)
• Coal Miner's Daughter (1980) ≈
• Cruising (1980)
• Dressed to Kill (1980)
• The Elephant Man (1980)
• The Empire Strikes Back (1980) ≈
• Fame (1980) ≈
• The Fog (1980)
• Gloria (1980)
• HealtH (1980)
• Heaven's Gate (1980)
• Honeysuckle Rose (1980)
• Inside Moves (1980)
• It's My Turn (1980)
• Just Tell Me What You Want (1980)
• The Long Riders (1980)
• Melvin (and Howard) (1980)
• Night of the Juggler (1980)
• The Ninth Configuration (1980)
• One-Trick Pony (1980)
• Ordinary People (1980)
• Out of the Blue (1980)
• Popeye (1980)
• Raging Bull (1980) ≈ ≠
• Return of the Secaucus 7 (1980) ≈
• Second-Hand Hearts (1980)
• The Shining (1980) ≈
• Stardust Memories (1980)
• Stir Crazy (1980)
• The Stunt Man (1980)
• Superman II (1980)
• Urban Cowboy (1980)
• Willie & Phil (1980)
• Windows (1980)
• Xanadu (1980)
• All Night Long (1981)
• ...All the Marbles (1981)
• An American Werewolf in London (1981)
• Arthur (1981)
• Blow Out (1981)
• Body Heat (1981)
• The Cannonball Run (1981)
• Cutter's Way (1981)
• Escape from New York (1981)
• The Evil Dead (1981)
• Fort Apache, the Bronx (1981)
• Four Friends (1981)
• The Funhouse (1981)
• The Howling (1981)
• Knightriders (1981)
• Modern Romance (1981)
• Mommie Dearest (1981)
• Ms. 45 (1981)
• Outland (1981)
• Pennies from Heaven (1981)
• The Postman Always Rings Twice (1981)
• Prince of the City (1981)
• Raggedy Man (1981)
• Ragtime (1981)
• Raiders of the Lost Ark (1981) ≈ ≠
• Reds (1981)
• S.O.B. (1981)
• Southern Comfort (1981)
• They All Laughed (1981)
• Thief (1981)
• Wolfen (1981)
• 48 Hrs. (1982)
• Annie (1982)
• The Best Little Whorehouse in Texas (1982)
• Blade Runner (1982) ≈ ≠
• The Border (1982)
• Cannery Row (1982)
• Cat People (1982)
• Come Back to the 5 & Dime, Jimmy Dean, Jimmy Dean (1982)
• Diner (1982)
• E.T. the Extra-Terrestrial (1982) ≈ ≠
• Fast Times at Ridgemont High (1982) ≈
• First Blood (1982)
• The King of Comedy (1982)
• Lookin' to Get Out (1982)
• Losing Ground (1982) ≈
• A Midsummer Night's Sex Comedy (1982)
• My Favorite Year (1982)
• An Officer and a Gentlemen (1982)
• One from the Heart (1982)
• Personal Best (1982)
• Poltergeist (1982)
• Rocky III (1982)
• Shoot the Moon (1982)
• Split Image (1982)
• Star Trek II: The Wrath of Khan (1982) ≈
• Summer Lovers (1982)
• The Thing (1982)
• Tootsie (1982) ≈ ≠
• TRON (1982)
• The Verdict (1982)
• White Dog (1982)
• The World According to Garp (1982)

1983–1987

• The Big Chill (1983)
• Blue Thunder (1983)
• Breathless (1983)
• Flashdance (1983)
• Misunderstood (1983)
• Mr. Mom (1983)
• National Lampoon's Vacation (1983)
• The Outsiders (1983)
• Return of the Jedi (1983) ≈
• Rumble Fish (1983)
• Star 80 (1983)
• Suburbia (1983)
• Tender Mercies (1983)
• Terms of Endearment (1983)
• Twilight Zone: The Movie (1983)
• Yentl (1983)
• Amadeus (1984) ≈
• Beverley Hills Cop (1984) ≈
• Blood Simple (1984)
• Body Double (1984)
• The Brother from Another Planet (1984)
• Choose Me (1984)
• Footloose (1984)
• Gremlins (1984)
• Heartbreakers (1984)
• Indiana Jones and the Temple of Doom (1984)
• Mike's Murder (1984)
• A Nightmare on Elm Street (1984) ≈
• Paris, Texas (1984)
• Purple Rain (1984) ≈
• Repo Man (1984)
• Sixteen Candles (1984)
• Splash (1984)
• Starman (1984)
• Star Trek III: The Search for Spock (1984)
• Streets of Fire (1984)
• Streetwise (1984)
• The Terminator (1984) ≈
• This Is Spinal Tap (1984) ≈
• Top Secret! (1984)
• After Hours (1985)
• Back to the Future (1985) ≈
• The Breakfast Club (1985) ≈
• Day of the Dead (1985)
• Desperately Seeking Susan (1985) ≈
• The Goonies (1985) ≈
• The Legend of Billie Jean (1985)
• Mask (1985)
• Mishima: A Life in Four Chapters (1985)
• National Lampoon's European Vacation (1985)
• Out of Africa (1985)
• Rocky IV (1985)
• Smooth Talk (1985)
• To Live and Die in L.A. (1985)
• Trouble in Mind (1985)
• Weird Science (1985)
• Witness (1985)
• 8 Million Ways to Die (1986)
• 52 Pick-Up (1986)
• Aliens (1986)
• The Big Easy (1986)
• Blue Velvet (1986)
• Children of a Lesser God (1986)
• Ferris Bueller's Day Off (1986) ≈
• The Fly (1986)
• Hannah and Her Sisters (1986)
• Legal Eagles (1986)
• Little Shop of Horrors (1986)
• Manhunter (1986)
• Parting Glances (1986)
• Platoon (1986) ≈ ≠
• Pretty in Pink (1986)
• River's Edge (1986)
• Salvador (1986)
• She's Gotta Have It (1986) ≈
• Stand by Me (1986)
• Star Trek IV: The Voyage Home (1986)
• Top Gun (1986) ≈
• Beverley Hills Cop II (1987)
• Black Widow (1987)
• Dirty Dancing (1987) ≈
• Fatal Attraction (1987)
• Full Metal Jacket (1987)
• The Hidden (1987)
• Lethal Weapon (1987)
• The Lost Boys (1987)
• Moonstruck (1987)
• Near Dark (1987)
• No Way Out (1987)
• Planes, Trains and Automobiles (1987)
• The Princess Bride (1987) ≈
• Raising Arizona (1987)
• Robocop (1987)
• Some Kind of Wonderful (1987)
• Someone to Watch Over Me (1987)
• Tin Men (1987)
• The Untouchables (1987)
• Wall Street (1987)

1988–1999

• Beetlejuice (1988)
• Betrayed (1988)
• Crossing Delancey (1988)
• Die Hard (1988) ≈
• Heathers (1988)
• Lady in White (1988)
• The Last Temptation of Christ (1988)
• Midnight Run (1988)
• Miracle Mile (1988)
• The Naked Gun: From the Files of Police Squad! (1988)
• Rain Man (1988)
• Running on Empty (1988)
• She's Having a Baby (1988)
• The Thin Blue Line (1988) ≈
• The Abyss (1989)
• Batman (1989)
• Born on the Fourth of July (1989)
• Casualties of War (1989)
• Do the Right Thing (1989) ≈ ≠
• Gleaming the Cube (1989)
• Honey, I Shrunk the Kids (1989)
• Indiana Jones and the Last Crusade (1989)
• Look Who's Talking (1989)
• National Lampoon's Christmas Vacation (1989)
• Parenthood (1989)
• Sex, Lies, and Videotape (1989) ≈
• Steel Magnolias (1989)
• Uncle Buck (1989)
• When Harry Met Sally... (1989) ≈
• Avalon (1990)
• Days of Thunder (1990)
• Downtown (1990)
• Edward Scissorhands (1990)
• GoodFellas (1990) ≈ ≠
• Havana (1990)
• Home Alone (1990) ≈
• The Hunt for Red October (1990)
• Internal Affairs (1990)
• Joe Versus the Volcano (1990)
• Mo' Better Blues (1990)
• Pump Up the Volume (1990)
• Slacker (1990) ≈
• Wild at Heart (1990)
• Boyz n the Hood (1991) ≈
• Curly Sue (1991)
• The Doors (1991)
• JFK (1991)
• My Own Private Idaho (1991) ≈
• A Rage in Harlem (1991)
• The Silence of the Lambs (1991) ≈ ≠
• Sleeping with the Enemy (1991)
• Terminator 2: Judgement Day (1991) ≈
• Thelma & Louise (1991) ≈
• The Bodyguard (1992)
• Home Alone 2: Lost in New York (1992)
• Husbands and Wives (1992)
• The Last of the Mohicans (1992)
• Malcolm X (1992) ≈
• The Fugitive (1993)
• Groundhog Day (1993) ≈
• Jurassic Park (1993) ≈
• Sleepless in Seattle (1993)
• True Romance (1993)
• Clerks (1994) ≈
• Pulp Fiction (1994) ≈ ≠
• Serial Mom (1994)
• Speed (1994)
• Bad Boys (1995)
• Dead Man Walking (1995)
• The Doom Generation (1995)
• Heat (1995)
• Kids (1995)
• Se7en (1995)
• Strange Days (1995)
• Toy Story (1995) ≈ ≠
• From Dusk Till Dawn (1996)
• Mission: Impossible (1996)
• Muppet Treasure Island (1996)
• Liar Liar (1997)
• Titanic (1997) ≈ ≠
• Armageddon (1998)
• Dark City (1998)
• Fight Club (1999)
• The Matrix (1999) ≈

Notes

• ≈ Indicates a National Film Registry inductee.
• ≠ Indicates an AFI's 100 Years...100 Movies entry.

See also

• Blaxploitation – Film genre
• Counterculture of the 1960s – Anti-establishment cultural phenomenon
• A Decade Under the Influence – The 2003 documentary about the New Hollywood
• Easy Riders, Raging Bulls – Peter Biskind's controversial account of this era of filmmaking
• Exploitation film – Popular during that time
• Hippie exploitation films – Film genre
• L.A. Rebellion – Alternative African-American cinema in the 1970s–1980s
• List of New Wave movements
• Midnight movie – Popular during this era
• Modernist film – Film genre
• Vulgar auteurism – Movement in latter-day cinephilia and film criticism
• Z Channel: A Magnificent Obsession – 2004 documentary about the troubled life of programmer Jerry Harvey and his California-based movie channel that aired director's cut editions of films such as The Wild Bunch and Heaven's Gate

References

Bibliography

• Biskind, Peter (1998). Easy Riders, Raging Bulls: How the Sex-Drugs-And Rock 'N Roll Generation Saved Hollywood. New York: Simon & Schuster. ISBN 978-0-684-85708-4.
• Biskind, Peter (1990). The Godfather Companion: Everything You Ever Wanted to Know About All Three Godfather Films (HarperPerennial)
• Belton, John (1993). American Cinema/American Culture. New York: McGraw/Hill.
• Berliner, Todd (2010). Hollywood Incoherent: Narration in Seventies Cinema. Austin, TX: University of Texas Press.
• Cook, David A. "Auteur Cinema and the film generation in 70s Hollywood", in The New American Cinema. Ed. by Jon Lewis. NY: Duke University Press, 1998, pp. 1–37
• Harris, Mark (2008). Pictures at a Revolution: Five Movies and the Birth of the New Hollywood. New York: Penguin Press. ISBN 978-1-594-20152-3.
• Harris, Mark. Scenes from a Revolution: The Birth of the New Hollywood. Canongate Books, 2009.
• James, David E. Allegories of Cinema: American Film in the Sixties. NY: Princeton University Press, 1989, pp. 1–42
• Kael, Pauline. "Bonnie and Clyde", in For Keeps. Ed. by Pauline Kael. NY: Plume, 1994, pp. 141–57.
• Kael, Pauline. "Trash, Art, and the Movies", in Going Steady: Film Writings 1968–69. NY: Marion Boyers, 1994, pp. 87–129
• Kanfer, Stefan, "The Shock of Freedom in Films", Time Magazine, December 8, 1967, Accessed April 25, 2009, [1]
• King, Geoff (2002). New Hollywood Cinema: An Introduction. London: I.B. Tauris. ISBN 9781860647499.
• Kirshner, Jonathan (2012). Hollywood's Last Golden Age: Politics, Society, and the Seventies Film in America. Ithaca, New York: Cornell University Press. ISBN 978-0-801-46540-6.
• Krämer, Peter (2005). The New Hollywood: From Bonnie and Clyde to Star Wars. Wallflower Press. ISBN 978-1-904764-58-8.
• Langford, Barry (2010). Post-classical Hollywood: Film Industry, Style and Ideology Since 1945. Edinburgh University Press. ISBN 978-0748638574.
• Road Trip to Nowhere: Hollywood Encounters the Counterculture, Jon Lewis, 2022
• Monaco, Paul (2001). The Sixties, 1960–69, History of American Cinema. London: University of California Press.
• Schatz, Thomas (1993). "The New Hollywood". In Jim Collins, Hilary Radner and Ava Preacher Collins (ed.). Film Theory goes to the Movies. New York: Routledge. pp. 8–37.
• Thompson, Kristin & Bordwell, David (2003). Film History: An Introduction (2nd ed.). McGraw–Hill.
• New Wave, New Hollywood: Reassessment, Recovery and Legacy, Nathan Abram and Gregory Frame, 2021

External links

• "The First Five Years of the 70s" episode of Siskel and Ebert
• The American Revolution – DGA Archived April 28, 2021, at the Wayback Machine
• "The Film School Generation" episode of American Cinema at Annenberg Learner