By Peter Lev, David Cook, Frances Gateward, Paula J. Massood, Lester D. Friedman, Michael DeAngelis, Mimi White, Mia Mask, Glenn Man, Frank Tomasulo, Charles Maland
A boastful look on the seventies-the so-called Me Decade-unveils a kaleidoscope of huge hair, blaring tune, and damaged politics-all effortless ambitions for satire, cynicism, and finally even nostalgia. American Cinema of the Nineteen Seventies, besides the fact that, seems past the strobe lighting fixtures to bare how profoundly the seventies have motivated American lifestyles and the way the movies of that decade characterize a height second in cinema heritage. faraway from a placid period, the seventies was once a decade of social upheavals. occasions comparable to the killing of scholars at Kent country and Jackson country universities, the Watergate investigations, the legalization of abortion, and the tip of the yankee involvement in Vietnam are just a number of one of many landmark occurrences that challenged the principles of yank tradition. The director-driven videos of this period mirror this turmoil, experimenting with narrative constructions, supplying a gallery of scruffy antiheroes, and revising conventional style conventions. Bringing jointly ten unique essays, American Cinema of the Nineteen Seventies examines the diversity of movies that marked the last decade, together with Jaws, Rocky, Love tale, Shaft, soiled Harry, The Godfather, Deliverance, The Exorcist, Shampoo, Taxi motive force, big name Wars, Saturday evening Fever, Kramer vs. Kramer, and Apocalypse Now. Lester D. Friedman is the Senior Scholar-in-Residence within the Media and Society software at Hobart and William Smith faculties and the writer of various books on movie.
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Additional resources for American Cinema of the 1970s: Themes and Variations (Screen Decades: American Culture / American Cinema)
Awash in clichés, including popularizing the phrase “Love means never having to say you’re sorry,” the ﬁlm construes youth rebellion as a constrained set of personal issues for the elite class, and simultaneously revises a classic woman’s genre for purposes of male familial reconciliation. The ﬁlm references what Molly Haskell refers to as the afﬂiction sub-category of the woman’s weepy, as the heroine in this drama dies, but recasts the genre from an explicit male perspective. The ﬁlm thus appropriates class, gender, and generational politics to offer a completely unthreatening version of youth rebellion and generational reconciliation, ultimately proffering a reassuring image of youth culture and campus life in the familiar language of romantic melodrama.
These events signaled widespread interest in marshalling collective action on behalf of conserving natural resources. Hollywood movies that both targeted and represented the antiestablishment youth culture had emerged in the 1960s and now were commonplace. Youth culture, countercultures, alienation, student uprisings, the generation gap, free love, Black Power, the establishment, and antiwar protests invaded the screen. , WUSA, Zabriskie Point, The Revolutionary, The People Next Door, and Brewster McCloud, as well as two prominent feature-length documentaries, Woodstock and Gimme Shelter.
Paradigmatic of this shift is Bob Dylan’s 1974 album Blood on the Tracks, a collection of songs permeated with anger and alienation over his divorce rather than with the so-called protest songs that deﬁned him in the previous decade. As Pete Hamill writes in the liner notes: “Dylan is now looking at the quarrel of the self. The crowds have moved back off the stage of history. We are left with the solitary human . . ” Instead of penning hymns to resistance like “Blowing in the Wind” or expressing outrage at “The Lonesome Death of Hattie Carroll,” Dylan seems battered and helpless in the blast of idiot winds, the simple twists of fate, and the loss of his love who now may live in Tangiers.