Edinburgh University Press The Other Hollywood Renaissance (Traditions in American Cinema)

In the late 1960s, the collapse of the classic Hollywood studio system led in part, and for less than a decade, to a production trend heavily influenced by the international art cinema. Reflecting a new self-consciousness in the US about the national film patrimony, this period is known as the Hollywood Renaissance. However, critical study of the period is generally associated with its so-called principal auteurs, slighting a number of established and emerging directors who were responsible for many of the era's most innovative and artistically successful releases. With contributions from leading film scholars, this book provides a revisionist account of this creative resurgence by discussing and memorializing twenty-four directors of note who have not yet been given a proper place in the larger history of the period. Including filmmakers such as Hal Ashby, John Frankenheimer, Mike Nichols, and Joan Micklin Silver, this more expansive approach to the auteurism of the late 1960s and 1970s seems not only appropriate but pressing -- a necessary element of the re-evaluation of 'Hollywood' with which cinema studies has been preoccupied under the challenges posed by the emergence and flourishing of new media. From the Inside Flap The Other Hollywood Renaissance is an extraordinary volume which testifies to the incredible richness of 1970s cinema. These 23 concise, eloquent and keenly insightful auteurist essays, expertly assembled, recover and re-examine the considerable achievements of a wide array of directors, ranging from the highly esteemed and well-known (Sidney Lumet, Mike Nichols and Terrence Malick) to the highly neglected (John Boorman, Elaine May and Alan Rudolph). Like the best critics, these authors compel us to watch the films anew with a fresh appreciation of their directors' work.Matthew Bernstein, Emory CollegeIn the late 1960s, the collapse of the classic Hollywood studio system led in part, and for less than a decade, to a production trend heavily influenced by the international art cinema. Reflecting a new self-consciousness in the US about the national film patrimony, this period is known as the Hollywood Renaissance. However, critical study of the period is generally associated with its so-called principal auteurs, slighting a number of established and emerging directors who were responsible for many of the eras most innovative and artistically successful releases.With contributions from leading film scholars, this book provides a revisionist account of this creative resurgence by discussing and memorializing twenty-four directors of note who have not yet been given a proper place in the larger history of the period. Including filmmakers such as Hal Ashby, John Frankenheimer, Mike Nichols, and Joan Micklin Silver, this more expansive approach to the auteurism of the late 1960s and 1970s seems not only appropriate but pressing a necessary element of the re-evaluation of 'Hollywood' with which cinema studies has been preoccupied under the challenges posed by the emergence and flourishing of new media.Dominic Lennard is a Teaching Fellow in the Pre-Degree Programs at the University of Tasmania. He is the author of Bad Seeds and Holy Terrors: The Child Villains of Horror Film (2014) and Brute Force: Animal Horror Movies (2019).R. Barton Palmer is the Calhoun Lemon Professor emeritus at Clemson University, where he founded the World Cinema program. He is the author or editor of more than fifty books on film and literary subjects from various academic presses, including, both with Homer Pettey, Film Noir and International Film Noir (EUP, 2016).Murray Pomerance is an independent scholar living in Toronto. He is the author of Virtuoso: Screen Performance and the Actors Magic (2019), A Dream of Hitchcock (2019), and Cinema, If You Please (EUP, 2018), amongst many others.Cover image: Serpico (1973) Directed by Sidney Lumet Shown: Al Pacino © Paramount Pictures/PhotofestCover design:[EUP lo