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American Independent CinemaAn Introduction$
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Yannis Tzioumakis

Print publication date: 2006

Print ISBN-13: 9780748618668

Published to Edinburgh Scholarship Online: September 2012

DOI: 10.3366/edinburgh/9780748618668.001.0001

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The New Hollywood and the Independent Hollywood

The New Hollywood and the Independent Hollywood

(p.169) 5 The New Hollywood and the Independent Hollywood
American Independent Cinema

Yannis Tzioumakis

Edinburgh University Press

This chapter examines the integral part independent American cinema played in the formation of 'The New Hollywood' or Hollywood Renaissance.' Starting with a an examination of John Cassavetes, whose film Shadows (1959) is now widely considered a progenitor of contemporary American independent cinema, the chapter then moves to discuss the film industry in the late 1960s, when mainstream studio films such as Dr Doolitle and Hello Dolly proved box-office failures. It then goes on to examine American independent film production as a distinct practice, which was nevertheless actively endorsed by the majors, when this new wave of independent films started proving commercial successes. While films such as Bonnie and Clyde and Easy Rider were produced independently and their respective filmmakers enjoyed unprecedented creative control, it was the majors that reaped the benefits of their success since they distributed the. The chapter highlights the importance of distribution in any examination of independent cinema (can one talk of independence when a film is distributed by a major?) and points towards the problems of defining independent American cinema in the 1960s and 1970s. Case Studies: Shadows (Cassavetes, 1959); The Last Movie (Hopper, 1971)

Keywords:   New Hollywood, Hollywood Renaissance, Shadows, John Cassavetes, Distribution, Major studios

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