Browsing by Subject "New Hollywood"
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Item Peter Bogdanovich : the devil in the details(2020-09-03) Collins, Philip Anderson, II; Isenberg, Noah WilliamThe Devil in the Details, is largely chronological. I work with a combination of sources, including Bogdanovich's original films, interviews with Bogdanovich and his contemporaries throughout various stages of his life and career, a combination of voiceover and originally filmed material that contextualizes this content within a historical and narrative framework, and historical and academic sources. I depend on fair-use rights to content (narrative, documentary and interview) that I purchased and ripped from DVDs and Blu-Rays. Likewise, I performed extensive exploration of internet archives, downloading and locating footage of interviews to help contextualize the narrative Through IMDB I located a list of 241 documentaries and interviews of Peter Bogdanovich. I compiled at least 10-20 hours of interview footage over the course of his life and used it as a primary narrative driver for the work. In developing my body of original material I used both UT's library and the Austin Public Library system to assemble these interview films. Through the process of curating these, it was important to prioritize interviews based on not just the historical value of the interviews, but also the thematic or cultural value they imparted. These interviews, particularly when supplemented with footage from period news, Bogdanovich's films, and original filmed footage, there was more than enough material to form not just an essay but a full documentary. This original filmed material was used to introduce some of my own theorizing on Bogdanovich and his role in Hollywood. It is through this material that I will introduce what specific film theory is present in the piece.Item Robert De Niro's Method : acting, authorship and agency in the New Hollywood (1967-1980)(2013-05) Tait, Richard Colin; Schatz, Thomas, 1948-This dissertation argues that Robert De Niro's performances in the 1970s mark him as pivotal a figure in the history of American film acting as Stella Adler, Elia Kazan, and Marlon Brando. De Niro's transformations into Vito Corleone, Travis Bickle, and Jake La Motta take the Method to the extreme, permanently changing our understanding of screen performance while revealing the relationships among authorship, agency, and acting. Utilizing rare artifacts from De Niro's recently donated materials to the Harry Ransom Center, I provide hitherto unseen evidence of his meticulous research, his conversations with directors, and his extreme bodily transformations that I argue constitute a truly unique iteration of the Method. Though certainly a student of Adler, De Niro's efforts to reshape productions around his characterizations and exercise his growing power to do whatever it takes - including rewriting dialogue to reflect vernacular speech, improvising scenes for spontaneity, and finding his own costumes – demonstrate a particular commitment to artistic truth, historical accuracy, and verisimilitude that mark him as inimitable within the diverse world of Method theorists, pedagogues, and practitioners. There is nothing, I argue, that appears in a De Niro film that has not been deliberated, discussed, or fought for by the actor, and I consider here how his filmography – including pivotal '70s films such as MEAN STREETS, TAXI DRIVER, THE DEER HUNTER, and RAGING BULL – speaks to a Method performance that extends beyond the screen and behind the scenes. Demystifying De Niro's "Method" therefore allows us to revisit key cinematic contributions to 1970s US film culture and significantly deepens our understanding of actor agency by troubling dominant historical narratives of production and confounding assumptions about on-set hierarchies.Item Teen films of the 1980s : genre, new Hollywood, and generation X(2011-05) Nelson, Elissa Helen; Schatz, Thomas, 1948-; Wilkins, Karin G.; Ramirez Berg, Charles; Buhler, James; Kearney, Mary C.; Kackman, MichaelTeen films from the 1980s are a part of the zeitgeist, but there is very little we actually understand about how they can be qualified and defined, and about the phenomenon of their prolific production, box office success, and cultural relevance. Gaining greater insights about these issues is essential for recognizing the significance of a specific group of films and the ways they address concerns of how teens come of age, but is also important for learning about the films’ historical and industrial contexts of production. Asking the questions why these kinds of films, why at this time, and what do they mean, leads to an awareness and identification of the phenomenon, but additionally, these lines of inquiry explore how the films and their success are tied to changing Hollywood industrial conditions, and to the shifting political, economic, social, and cultural climate of the U.S. in the 1980s. While previous scholars have studied the industrial context of production of teen films in the 1950s, and some have looked at the different types of films produced in the 1980s, the matter remains as to whether teen films actually constitute their own genre. Examining this question of genre is necessary for clarifying a number of issues: how the films relate to the culture at large; how representations of youth on screen can help us understand and reevaluate Generation X, the demographic group coming of age at the time; and how an assessment of these films contributes to a re-conceptualization of the ways films are produced, marketed, and categorized in the New Hollywood. Using primary data consisting of textual analysis and contextual analysis, and applying both qualitative and quantitative methodologies, the study builds on and adds to previous approaches to genre. The contributions of this research are multifaceted. By gaining insights about these films, we can begin to appreciate more fully a maligned generation, the changing landscape of the entertainment industry, and a cultural phenomenon.Item Transforming European cinema : transnational filmmaking in the era of global conglomerate Hollywood(2012-05) Liebing, Hans-Martin; Schatz, Thomas, 1948-; Moeller, Hans-Bernhard; Ramírez Berg, Charles; Straubhaar, Joseph D; Suber, HowardThe film industries in Europe have undergone a series of fundamental structural and strategic changes during the 1980s, 1990s and 2000s. This study looks at the nature of some of these changes, focusing on the Big Five film producing countries in Europe: the U.K., France, West Germany and the reunified Germany, Italy and Spain. It examines how the transformation of the U.S. film industry from “The New Hollywood” of the 1960s and 1970s into “Conglomerate Hollywood” in the 1980s, and into “Global Conglomerate Hollywood” in the 1990s affected the Big Five film industries in Europe. In this context, the question is raised: How have these changes influenced European development strategies and practices, leading to the creation of an increasing number of transnational motion pictures originating in, and produced in collaboration with, these film industries. The study finds that conglomeration and globalization trends within the U.S. entertainment industry have gone hand in hand with the changes observable in the Big Five European film industries in the 1980s, 1990s and 2000s. These changes include, but are not limited to, an altered definition of talent and the creative process, as well as notions of authorship, in European cinema. They also encompass an increased emphasis on an often neglected phase of film production: the development process, which is typically comprised of the conception of an idea or the acquisition of an existing fiction or non-fiction property to adapt, the research of potential markets and audiences, the writing and rewriting of a script, the casting of a movie’s lead characters, and the raising of production financing. To examine the nature and extent of the perceived changes, the study relies primarily on academic literature on the U.S. and European film industries; European and U.S. trade publications; as well as observations from several years of attending the Berlinale Co-Production Market and the European Film Market (both part of the Berlin International Film Festival) and the Marché du Film (part of the Cannes Film Festival). It also draws from a number of oral histories of industry professionals from both continents conducted by the author.