ABSTRACT

The Last Great American Picture Show brings together essays by scholars and writers who chart the changing evaluations of the American cinema of the 1970s, sometimes referred to as the decade of the lost generation, but now more and more recognized as the first New Hollywood, without which the cinema of Francis Coppola, Steven Spielberg, Robert Zemeckis, Tim Burton or Quentin Tarantino could not have come into existence. Identified with directors such as Sam Peckinpah, Arthur Penn, Peter Bogdanovich, Monte Hellman, Bob Rafelson, Hal Ashby, Robert Altman and James Toback, American cinema of the 1970s is long overdue for this re-evaluation. Many of the films have not only come back from oblivion, as the benchmark for new directorial talents. They have also become cult films in the video shops and the classics of film courses all over the world.

part One|64 pages

Introductions

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chapter |11 pages

The Impure Cinema:

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chapter |18 pages

“The Last Good Time We Ever Had”

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Remembering the New Hollywood Cinema
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chapter |34 pages

American Auteur Cinema

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The Last – or First – Picture Show?
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part Two|82 pages

Histories

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chapter |11 pages

The Decade When Movies Mattered

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chapter |24 pages

The Exploitation Generation

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Or: How Marginal Movies Came in from the Cold
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part Three|124 pages

People and Places

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chapter |30 pages

“The Cylinders Were Whispering My Name”

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The Films of Monte Hellman
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chapter |28 pages

Nashville Contra Jaws

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Or “The Imagination of Disaster” Revisited
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chapter |26 pages

For Wanda

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chapter |18 pages

Everybody Knows This Is Nowhere

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The Uneasy Ride of Hollywood and Rock
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chapter |10 pages

Auteurism and War-teurism

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Terrence Malick's War Movie
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part Four|82 pages

Critical Debates

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chapter |15 pages

The Pathos of Failure: American Films in the 1970s

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279Notes on the Unmotivated Hero [1975]
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chapter |16 pages

Trapped in the Affection Image

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Hollywood's Post-traumatic Cycle (1970-1976)
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chapter |24 pages

Grim Fascination

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Fingers, James Toback, and 1970s American Cinema
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chapter |26 pages

Allegories of Post-Fordism in 1970s New Hollywood

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Countercultural Combat Films, Conspiracy Thrillers as Genre Recycling
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