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The New Hollywood was the period following the decline of the studio system during the 1950s and 1960s and the end of the production code, (which was replaced in 1968 by the MPAA film rating system). During the 1970s, filmmakers increasingly depicted explicit sexual content and showed gunfight and battle scenes that included graphic images of bloody deaths - a good example of this is Wes Craven's The Last House on the Left (1972). Post-classical cinema is the changing methods of storytelling of the New Hollywood producers. The new methods of drama and characterization played upon audience expectations acquired during the classical/Golden Age period: story chronology may be scrambled, storylines may feature unsettling "twist endings", main characters may behave in a morally ambiguous fashion, and the lines between the antagonist and protagonist may be blurred. The beginnings of post-classical storytelling may be seen in 1940s and 1950s film noir films, in films such as Rebel Without a Cause (1955), and in Hitchcock's Psycho. 1971 marked the release of controversial films like Straw Dogs, A Clockwork Orange, The French Connection and Dirty Harry. This sparked heated controversy over the perceived escalation of violence in cinema. During the 1970s, a new group of American filmmakers emerged, such as Martin Scorsese, Francis Ford Coppola, George Lucas, Woody Allen, Terrence Malick, and Robert Altman. This coincided with the increasing popularity of the auteur theory in film literature and the media, which posited that a film director's films express their personal vision and creative insights. The development of the auteur style of filmmaking helped to give these directors far greater control over their projects than would have been possible in earlier eras. This led to some great critical and commercial successes, like Scorsese's Taxi Driver, Coppola's The Godfather films, Altman’s Nashville, Allen's Annie Hall and Manhattan, Malick's Badlands and Days of Heaven, and Polish immigrant Roman Polanski's Chinatown. It also, however, resulted in some failures, including Peter Bogdanovich's At Long Last Love and Michael Cimino's hugely expensive Western epic Heaven's Gate, which helped to bring about the demise of its backer, United Artists. The financial disaster of Heaven's Gate marked the end of the visionary "auteur" directors of the "New Hollywood", who had unrestrained creative and financial freedom to develop films. The phenomenal success in the 1970s of Spielberg’s Jaws and Lucas’s Star Wars in particular, led to the rise of the modern "blockbuster". Hollywood studios increasingly focused on producing a smaller number of very large budget films with massive marketing and promotional campaigns. This trend had already been foreshadowed by the commercial success of disaster films such as The Poseidon Adventure and The Towering Inferno. During the mid-1970s, more pornographic theatres, euphemistically called "adult cinemas", were established, and the legal production of hardcore pornographic films began. Porn films such as Deep Throat and its star Linda Lovelace became something of a popular culture phenomenon and resulted in a spate of similar sex films. The porn cinemas finally died out during the 1980s, when the popularization of the home VCR and pornography videotapes allowed audiences to watch sex films at home. In the early 1970s, English-language audiences became more aware of the new West German cinema, with Werner Herzog, Rainer Werner Fassbinder and Wim Wenders among its leading exponents. In world cinema, the 1970s saw a dramatic increase in the popularity of martial arts films, largely due to its reinvention by Bruce Lee, who departed from the artistic style of traditional Chinese martial arts films and added a much greater sense of realism to them with his Jeet Kune Do style. This began with The Big Boss (1971), which was a major success across Asia. However, he didn't gain fame in the Western world until shortly after his death in 1973, when Enter the Dragon was released. The film went on to become the most successful martial arts film in cinematic history, popularized the martial arts film genre across the world, and cemented Bruce Lee's status as a cultural icon. Hong Kong action cinema, however, was in decline due to a wave of "Bruceploitation" films. This trend eventually came to an end in 1978 with the martial arts comedy films, Snake in the Eagle's Shadow and Drunken Master, directed by Yuen Woo-ping and starring Jackie Chan, laying the foundations for the rise of Hong Kong action cinema in the 1980s. While the musical film genre had declined in Hollywood by this time, musical films were quickly gaining popularity in the cinema of India, where the term "Bollywood" was coined for the growing Hindi film industry in Bombay (now Mumbai) that ended up dominating South Asian cinema, overtaking the more critically acclaimed Bengali film industry in popularity. Hindi filmmakers combined the Hollywood musical formula with the conventions of ancient Indian theatre to create a new film genre called "Masala", which dominated Indian cinema throughout the late 20th century.[48] These "Masala" films portrayed action, comedy, drama, romance and melodrama all at once, with "filmi" song and dance routines thrown in. This trend began with films directed by Manmohan Desai and starring Amitabh Bachchan, who remains one of the most popular film stars in South Asia. The most popular Indian film of all time was Sholay (1975), a "Masala" film inspired by a real-life dacoit as well as Kurosawa's Seven Samurai and the Spaghetti Westerns. The end of the decade saw the first major international marketing of Australian cinema, as Peter Weir's films Picnic at Hanging Rock and The Last Wave and Fred Schepisi's The Chant of Jimmie Blacksmith gained critical acclaim. In 1979, Australian filmmaker George Miller also garnered international attention for his violent, low-budget action film Mad Max. |
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