ABSTRACT
This essay deals with some aspects of the New Hollywood cinema of the late 1960s and early 1970s, focusing on non-canonized works among the war movies and conspiracy thrillers of that period, and on some related diagnostic, critical and historiographic discourses. One concern is to ask how such accounts of New Hollywood, in the historically narrow sense of the term, can be related to our present media-cultural experience, and what meanings the films in question can be made to reveal in a retrospective, allegorizing approach – in short: how to remember New Hollywood circa 1970. The retrospective frameworks employed here are (fragments of) a genealogy of subjectivities and temporalities characteristic of post-Fordist social production (which is where issues of ‘flexibility’ and ‘recycling’ and arguments made by Michael Hardt and Antonio Negri will come in), and the pre-history of today's blockbuster-oriented American cinema – the one which we know as New Hollywood in a larger sense.
