LEADER 03512nam 22006015 450 001 9910796863703321 005 20191221113333.0 010 $a0-8135-8916-9 010 $a0-8135-8917-7 024 7 $a10.36019/9780813589176 035 $a(CKB)4100000004820848 035 $a(OCoLC)999672121 035 $a(MdBmJHUP)muse60309 035 $a(MiAaPQ)EBC5399056 035 $a(DE-B1597)526338 035 $a(DE-B1597)9780813589176 035 $a(PPN)234835389 035 $a(EXLCZ)994100000004820848 100 $a20191221d2018 fg 101 0 $aeng 135 $aur|||||||nn|n 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 14$aThe Limits of Auteurism $eCase Studies in the Critically Constructed New Hollywood /$fNicholas Godfrey 210 1$aNew Brunswick, NJ : $cRutgers University Press, $d[2018] 210 4$dİ2018 215 $a1 online resource 311 $a0-8135-8915-0 320 $aIncludes filmography. 320 $aIncludes bibliographical references and index. 327 $tFrontmatter -- $tContents -- $tNote on the Text -- $tIntroduction: Open Roads -- $t1. Which New Hollywood? -- $t2. Easy Rider -- $tPart I: Variations on a Theme: Five Easy Riders -- $t3. Five Easy Pieces -- $t4. Two-Lane Blacktop -- $t5. Vanishing Point -- $t6. Little Fauss and Big Halsy -- $t7. Adam at 6 A.M. -- $tPart II: Politicizing Genre -- $t8. Dirty Harry -- $t9. The French Connection -- $tPart III: The Limits of Auteurism -- $t10. The Last Movie -- $t11. The Hired Hand -- $tConclusion: The End of the Road -- $tAcknowledgments -- $tFilmography -- $tNotes -- $tBibliography -- $tIndex 330 $aThe New Hollywood era of the late 1960s and early 1970s 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. Beginning with the commercial success of Easy Rider in 1969, and ending two years later with the critical and commercial failure of that film's twin progeny, The Last Movie and The Hired Hand, Nicholas Godfrey surveys a key moment that defined the subsequent aesthetic parameters of American commercial art cinema. The book explores the role that contemporary critics played in determining how the movies of this period were understood and how, in turn, strategies of distribution influenced critical responses and dictated the conditions of entry into the rapidly codifying New Hollywood canon. Focusing on a small number of industrially significant films, this new history advances our understanding of this important moment of transition from Classical to contemporary modes of production. 606 $aMotion pictures$zUnited States$xHistory$y20th century 606 $aAuteur theory (Motion pictures) 608 $aElectronic books. 610 $a1960s. 610 $a1970s. 610 $aHollywood. 610 $aauteurism. 610 $acommercial cinema. 610 $amotion picture. 610 $amovies. 615 0$aMotion pictures$xHistory 615 0$aAuteur theory (Motion pictures) 676 $a791.4302/3301 700 $aGodfrey$b Nicholas, $4aut$4http://id.loc.gov/vocabulary/relators/aut.$01583688 801 0$bDE-B1597 801 1$bDE-B1597 906 $aBOOK 912 $a9910796863703321 996 $aThe Limits of Auteurism$93867035 997 $aUNINA