Centering its discussion on the films and filmmaking practice of director Hal Ashby Harold and Maude, Shampoo, Being There , Hunter's work demonstrates how the auteur paradigm has served not only to diminish several key films and filmmakers of.
The discourse does not make explicit what the real New was. However, there appears to be a general consensus as to the actual time frame in which a bigger change happened in Hollywood that stirred up the system - starting in The New Hollywood era of the late s and early s has become one of the most romanticized periods in motion picture history, celebrated for its stylistic boldness, thematic complexity, and the unshackling of directorial ambition.
The Limits of Auteurism aims to challenge many of these assumptions. Exploring the depiction of violence and related issues in Hollywood productions, this book focuses on the motivations and cultural politics of violence on the big screen, as well as its effects on viewers and society as a whole. In the s and s, John Hughes was one of Hollywood's most reliable hitmakers, churning out beloved teen comedies and family films such as The Breakfast Club and Home Alone, respectively. But was he an artist?
Feb 03, Sidney rated it it was amazing Shelves: library , filmtexts. Many say the s defined the way Hollywood films are made today. Intended for Trysh Ind. Study but didn't make the cut. May 10, Ke rated it it was amazing Shelves: undergrad-reading , did-not-complete. I really liked what I read. Maybe it is because the book is about innovative Hollywood projects, I found the topic exciting and refreshing.
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See for example, Movie Blockbusters , ed. Julian Stringer London: Routledge, For further discussion of this term see Gary K.
Annette Kuhn London: Verso, , p. Annette Kuhn London: Verso, Sue Short 1 1. Miller, Images, The Long Goodbye, Thieves Like Us, California Split, and Nashville sheds new light on both the films and the filmmaker, reframing Altman as a complex, pragmatic innovator whose work exceeds, but is also grounded in, the norms of classical Hollywood storytelling rather than someone who rejected those norms in favor of modernist art cinema.
Its findings and approach hold important implications for the study of cinematic authorship. Largely avoiding thematic exegesis, it employs an historical poetics approach, robust functionalist frameworks, archival research, and formal and statistical analysis to demystify the essential features of the standard account of Altman's filmmaking history and profile-lax narrative form, heavy reliance on the zoom, sound design replete with overlapping dialogue, improvisational infidelity to the screenplay, and a desire to subvert based in his time in the training grounds of industrial filmmaking and filmed television.
The book provides a clear example of how a filmmaker might work collaboratively and pragmatically within and across media institutions to elaborate upon their sanctioned practices and aims. We misunderstand Altman's work, and the creative work of Hollywood filmmakers in general, when we insist on describing innovation as opposition to institutional norms and on describing those norms as simply assimilating innovation.
The uncertainty that followed opened the way for independent producers, many of whom were already specializing in exploitation movies with titles like Slumber Party Massacre, which were targeted at the toyear-old age group. These films, with their starvation budgets and impossible shooting schedules, gave a start to a number of notable directors. Others were meanwhile trying their luck in television or shooting experimental movies.
Behind them has come a new generation of directors, often controversial, who now make some of Hollywood's most interesting pictures. This book, based on in-depth interviews, looks at the experiences of some thirty of them in getting established and keeping afloat in the new Hollywood. Drawing upon information gathered in interviews more often than quoting directly from them, Jim Hillier has produced an absorbing account from the filmmakers' viewpoint of the business of filmmaking.
Others continue to make inexpensive horror movies. The New Hollywood bears witness to the diversity and vigor still remaining in an industry that over the past twenty years has become more dispersed, less rigidly organized - and much more costly. Jim Hillier's book provides the essential background to understanding the economic and creative forces that will carry the American cinema into the 21st century.
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