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Post-Classical HollywoodFilm Industry, Style and Ideology since 1945$
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Barry Langford

Print publication date: 2009

Print ISBN-13: 9780748638574

Published to Edinburgh Scholarship Online: September 2012

DOI: 10.3366/edinburgh/9780748638574.001.0001

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New Wave Hollywood

New Wave Hollywood

(p.133) Chapter 5 New Wave Hollywood
Post-Classical Hollywood

Barry Langford

Edinburgh University Press

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

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