|
 |
1 |
Factors for a New Wave Cinema
|
|
|
|
 |
1.1 |
government support
|
|
|
|
|
1.2 |
national film academies
|
|
|
|
|
1.3 |
young generation of engaged cinephiles
|
|
|
|
|
2 |
MPAA Ratings
|
|
|
|
|
2.1 |
adopted in 1968
|
|
|
|
|
2.2 |
segmented movie audiences by age
|
|
|
|
|
2.3 |
gave filmmakers new freedom
|
|
|
|
|
3 |
New Conglomerates
|
|
|
|
|
3.1 |
diversification
|
|
|
|
|
3.2 |
new moguls had no idea how to make movies
|
|
|
|
|
3.3 |
left filmmakers work independently
|
|
|
|
|
4 |
Old Moguls Retire
|
|
|
|
|
4.1 |
Jack Warner
|
|
|
|
|
4.2 |
Daryl Zanuck, 20th Century-Fox
|
|
|
|
|
5 |
New Generation of "Film Brats"
|
|
|
|
|
5.1 |
"movie consciousness"
|
|
|
|
|
cinephiles
|
|
|
|
|
foreign films
|
|
|
|
|
influence on contemporary culture
|
|
|
|
|
6 |
Filmmakers
|
|
|
|
|
6.1 |
Robert Altman
|
|
|
|
|
6.2 |
Woody Allen
|
|
|
|
|
6.3 |
Martin Scorcese
|
|
|
|
|
6.4 |
Francis Ford Coppola
|
|
|
|
|
6.5 |
George Lucas
|
|
|
|
|
6.6 |
Steven Spielberg
|
|
|
|
|
7 |
Hollywood Gold Rush
|
|
|
|
|
7.1 |
Godfather (1972)
|
|
|
|
|
7.2 |
The Exorcist (1973)
|
|
|
|
|
7.3 |
American Graffiti (1973)
|
|
|
|
|
7.4 |
Jaws (1975)
|
|
|
|
|
7.5 |
Rocky (1976)
|
|
|
|
|
7.6 |
Close Encounters (1977)
|
|
|
|
|
7.7 |
Saturday Night Fever (1977)
|
|
|
|
|
7.8 |
Star Wars (1977)
|
|
|
|
|
8 |
Return of the Blockbuster
|
|
|
|
|
8.1 |
studios released very few films, about 10 high grossing
|
|
|
|
|
8.2 |
minimize risks
|
|
|
|
|
8.3 |
release during Christmas and summer seasons
|
|
|
|
|
8.4 |
advertise on television
|
|
|
|
|
8.5 |
saturation release during an opening weekend
|
|
|
|
|
9 |
Jaws
|
|
|
|
|
9.1 |
summer release
|
|
|
|
|
9.2 |
television ads
|
|
|
|
|
9.3 |
released to 500 screens
|
|
|
|
|
9.4 |
extended run
|
|
|
|
|
10 |
Packaging
|
|
|
|
|
11 |
Apocalypse Now
|
|
|
|
|
11.1 |
Francis Ford Copolla
|
|
|
|
|
11.2 |
three years to shoot
|
|
|
|
|
11.3 |
cost over $30 million
|
|
|
|
|
11.4 |
cost overruns
|
|
|
|
|
12 |
Heaven's Gate
|
|
|
|
|
12.1 |
Michael Cimino
|
|
|
|
|
12.2 |
$40 million, highest of the 1970s
|
|
|
|
|
12.3 |
United Artists released a shorten version
|
|
|
|
|
12.4 |
earned less than $2 million
|
|
|
|
|
12.5 |
UA collapsed, absorbed by MGM
|
|
|
|
|
13 |
End of New Hollywood
|
|
|
|
|
13.1 |
ironically the rise of New Hollywood, led to a general mistrust of directors
|
|
|
|
|
13.2 |
studios would reign in control of directors in the 1980s
|
|
|
|
|
13.3 |
executives would interfere with productions
|
|
|
|
|
14 |
Superman
|
|
|
|
|
14.1 |
megapicture built on…
|
|
|
|
|
packages
|
|
|
|
|
deals
|
|
|
|
|
stars
|
|
|
|
|
special effects
|
|
|
|
|
14.2 |
$40-55 million production
|
|
|
|
|
high star salaries
|
|
|
|
|
Gene Hackman
|
|
|
|
|
Marlon Brando
|
|
|
|
|
Mario Puzo
|
|
|
|
|
elaborate sets
|
|
|
|
|
special effects
|
|
|
|
|
14.3 |
franchise films
|
|
|
|
|
two films shot at once
|
|
|
|
|
grossed $80 million in US run
|
|
|
|
|
14.4 |
Richard Donner
|
|
|
|
|
director
|
|
|
|
|
no artistic pretensions
|
|
|
|