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The
The point that is often given for the beginning of the New Hollywood era is the collapse of the [[Hays Code]] in the mid-'60s. The Code had already lost its primary reason for being in 1952 when the US Supreme Court declared film to be a protected art form under the First Amendment. By the '60s, major studios had forced it to bend to approve "special exceptions" for critically-hailed, challenging fare, like ''[[The Pawnbroker]]'' with its short scene of plot-relevant nudity and ''[[
Seeing the writing on the wall, in 1968 the new boss, Jack Valenti, replaced the Code with a much more liberal system of [[Moral Guardians|moral guardianship]], the Motion Picture Association of America's (MPAA) film rating system. Unlike the Hays Code, which only allowed [[Rule
With the floodgates opened, the benefits started pouring through almost immediately. Films like ''[[
The success of New Hollywood's early films caused the studios to grant [[Protection From Editors|almost complete creative control]] to these filmmakers. As [[The Seventies]] rolled in, such films as Francis Ford Coppola's ''[[
Alas, it was not to be. Over time, the filmmakers of New Hollywood, [[Protection From Editors|free from studio control]] and being showered with heaps of praise, started to [[Small Name, Big Ego|let their egos]] [[Prima Donna Director|get the better of them]]. Their films started to go from masterpieces to self-indulgent messes that were [[Troubled Production|hopelessly over-budget]], weeks, months or [[Apocalypse Now|years]] behind schedule, and worst of all, nothing that anybody wanted to watch. Disasters like Coppola's 1982 bomb ''One From the Heart'', Michael Cimino's notorious 1980 flop ''[[
The auteur filmmaking of New Hollywood was a phenomenon chiefly relegated to the major studios, institutions that could afford to finance the production of these blockbusters. For those who couldn't make it in Hollywood... well, the [[Hays Code]] was gone, the [[Moral Guardians]] were neutered, and moviegoers were demanding much edgier and more graphic content, so [[Hotter and Sexier|you can guess]] [[Bloodier and Gorier|what happened]]. The above-described "auteur period" is only one of the two phenomena associated with filmmaking in the 1970s; the other, as [[Quentin Tarantino]] and his ilk have so masterfully taught us, was the explosion of [[B-Movie|B-grade]] [[Exploitation Film|exploitation films]]. Whole new sub-genres abounded in American cinema, from "[[Blaxploitation]]" targeted at newly-empowered (but still largely ignored by Hollywood) African Americans in the wake of the [[Civil Rights Movement]], to wild [[Martial Arts Movie|martial arts]] and [[Wuxia]] action films imported from Hong Kong with [[Bruce Lee]] becoming a cinematic legend with only a handful of films. Famed low-budget filmmaker [[Roger Corman]]
The American horror genre entered a new golden age of creativity. On the Hollywood side of the genre, such films as ''[[
While the New Hollywood era lasted less than a decade and a half, it had a profound impact on how Hollywood operated. To put it in as few words as possible, New Hollywood was the era in which, at least in America, cinema finally secured its status as [[True Art]] after decades of fighting for acceptance alongside literature, theater and music. The old studio system, in which the producers [[Executive Meddling|had the ultimate say]] in everything that happened on set and backstage, was gone for good. Even after the studios pushed back against the excesses of [[Small Name, Big Ego|bloated-headed]] [[Prima Donna Director|"visionaries"]] and [[Executive Meddling]] returned to prominence, the idea that Hollywood writers and directors have the right to control their work and make movies [[Doing It for
At the end of the day, the lessons learned from
{{reflist}}
{{History of Hollywood}}
[[Category:The Sixties]]
[[Category:History of Hollywood]]
[[Category:New Hollywood]]
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