Late 1966-1970: New American Cinema

The new American cinema freed from the restraints of production code began to explore the need for societal change hinted at in the ‘social problem’ films of the 40s/50s.  Many of the era’s best films rip the social, moral, sexual, and political fabric of American life—–tearing holes in the cultural myths that passed for American truths (the American Dream & Horatio Alger Myth), even lacerating the movies that advertised those myths (“Capra-corn” – Meet John Doe, Wonderful Life).  Films showed:

Transformation of Dominant Representations

By virtue of rebelling against the traditional, the youth ushered in a societal paradigm shift by prioritizing the representation of the self (vs. the 50s ideal of functional selflessness/CONSENSUS!) which led to a search for more personal, self-fulfilling experiences.  (PERSONAL AUTHENTICITY)

Thus, the social deviates, misfits and outlaws once romanticized as ‘anti-heroes’ of the 1950s became the offbeat, youthful PROTAGONISTS of the new American cinema who took to the roads, dropped out of school, started communes, grew long hair, listened to rock music, took drugs, and engaged in the creation of alternative lifestyles to those associated with the bourgeois ‘Establishment.”

Their path involved retreating from the crowded, corrupt cities and suburbs and heading to the country/desert to find a more satisfying alternative to the “American Dream.” However, they may also suffer in the process as in The Graduate and Bonnie & Clyde as they are pursued by often humorless and inhuman defenders of society—members of the “Establishment”—who now function as the new antagonists.

Mast: ‟Thus the old bad guys became the good guys; the old good guys, the bad guys…The surprise was that these new murderers were also charming, warm, loving, compassionate, and good-humored.  The pursuers with badges were inevitably the humorless, inhuman ones.  Given the outlaw protagonists, the new obligatory ending was the unhappy rather than happy one.  The protagonists die; law–or the Establishment–triumphs over lawlessness.  However good did not triumph over evil, for law and good were often antithetical. p. 435-6)

And while in a sad ending the outlaws are punished, the triumph is lawful over lawless vs. good over evil, for the latter conflict is antithetical in these films. (Mast 481).

New American Cinema

New American Cinema was characterized by the following:

• the explicit treatment of sexual conflicts and psych problems
• strong language and graphic depictions of violence (in films which often capitalized on them to bring tv audiences in…)
• the slick but tawdry surfaces of contemporary reality
• Independent films w. low budget

Stylistically these films integrated camera and editing techs derived from television that significantly altered the pace and format of film

Cinematography

• • extensive long takes with handheld cameras
  • tight close-ups render the experience of alienation from the American ideal of material success
  • wide angle and telephoto lenses to distort reality
  • slow-motion,
  • Color as an ironic or critical- rather than expressive – correlate of meaning.

Editing

• • extreme shifts from comedy to drama or tragedy,
  •  ironic juxtaposition of picture and sound,
  • quick cutting & jump cuts.

Together these changes broke down classical narrative patterns: the mixing of genres permitting a crossing of representational boundaries that disrespects the principles of social order.  They also allowed for longer episodic structures as well as flashbacks and forwards in time which rendered them undefinable.

Influenced by the films of Goddard and Bresson, American films in the early 70s attempted a reality as filtered through characters involved in an event or process, the emphasis being not on the action itself, but on how it feels (Mast 484)

Initiated in 1967 by the release of Bonnie and Clyde, and The Graduate, the movement peaked with Easy Rider (1969), a low budget ($375k) biker film with no stars, but a rock and roll soundtrack.  Rider commented on the myths, hypocrisies, and strengths of America.  Grossed $50 mill.  Subsequent rip-offs attempted to repeat these successes to dwindling box office.