New Hollywood

New Hollywood
Bonnie and Clyde (1967), one of the films that defined New Hollywood
Years active	1960s to 1980s
Location	United States
Influences	Classical Hollywood cinema French New Wave [1] Italian cinema Japanese cinema Art film Experimental film [2] Direct Cinema Golden Age of Television (1950s) B movies American independent film [3]
Influenced	Cinéma du look Poliziotteschi American Eccentric Cinema Peak TV [4] [5]

The New Hollywood, Hollywood Renaissance, or American New Wave, was a movement in American film history from the 1960s to the 1980s, when a new generation of filmmakers came to prominence. ^[6] They influenced the types of film produced, their production and marketing, and the way major studios approached filmmaking. ^[7] In New Hollywood films, the film director, rather than the studio, took on a key authorial role. ^[8]

The definition of "New Hollywood" varies, depending on the author, with some defining it as a movement and others as a period. The span of the period is also a subject of debate, as well as its integrity, as some authors, such as Thomas Schatz, argue that the New Hollywood consists of several different movements. The films made in this movement are stylistically characterized in that their narrative often deviated from classical norms. After the demise of the studio system and the rise of television, the commercial success of films was diminished. ^[8]

Successful films of the early New Hollywood era include Bonnie and Clyde , ^[9] The Graduate , ^{[10] [11]} Rosemary's Baby , Night of the Living Dead , The Wild Bunch , and Easy Rider , ^[9] while films whose box office failure marked the end of the era include New York, New York , Sorcerer , Heaven's Gate , They All Laughed , and One from the Heart . ^{[12] [13] [14]}

History

Background

In fact, The Wild Angels was kind of a... it was a big success for the New Hollywood. It was Roger Corman, it was Peter Fonda, Nancy Sinatra, it was a New Hollywood kind of movie, and it was very anti-the Old Hollywood, it was very hard-edged, violent, you know, it was not at all an Old Hollywood movie. And I didn't, I wasn't particularly aware of it. Then the following year was Bonnie and Clyde . Shadows had come out in the early '60s, so that was really the first sign of a kind of off-Hollywood movement. ^[15]
– Peter Bogdanovich

Following the Paramount Case (which ended block booking and ownership of theater chains by film studios) and the advent of television (where Rod Serling, John Frankenheimer, Arthur Penn, Paddy Chayefsky and Sidney Lumet worked in their earlier years ^{[16] [17] [18] [19] [20] [21] [22] [23]} ), both of which severely weakened both the traditional studio system ^[24] and the Motion Picture Production Code (or the Hays Code), Hollywood studios initially used spectacle to retain profitability. Technicolor developed a far more widespread use, while widescreen processes and technical improvements, such as CinemaScope, stereo sound, and others, such as 3-D, were invented to retain the dwindling audience and compete with television. However, these were generally unsuccessful in increasing profits. ^[25] By 1957, Life magazine called the 1950s "the horrible decade" for Hollywood. It was dubbed a "New Hollywood" by a press. ^[26]

In the 1950s and early 1960s, Hollywood was dominated by musicals, historical epics, and other films that benefited from the larger screens, wider framing, and improved sound. However, audience shares continued to dwindle, and had reached alarmingly low levels by the mid-1960s. Several costly flops, including Tora! Tora! Tora! , ^[27] Gene Kelly's adaptation of Hello, Dolly! ^[28] and the Julie Andrews vehicle Star! , each failed attempts to replicate the success of Mary Poppins , Doctor Zhivago and The Sound of Music , put great strain on the studios. ^{[29] [30] [31]} Both British and American press dismissed filmmakers Alfred Hitchcock and Howard Hawks as "frivolous entertainers and nothing more" while praising more respectable "models of American art films" like Stanley Kramer's Judgment at Nuremberg . ^[2] American underground cinema was usually regarded as "marginal and parochial" even with the debut features of John Cassavetes ( Shadows in 1959) and Shirley Clarke ( The Connection in 1961) ^{[32] [33]} as both were being praised by Esquire film critic Dwight Macdonald (despite being hostile to other underground titles like Jonas Mekas's 1963 manifestation Guns of the Trees ). ^[2]

By the time the Baby Boomer generation started to come of age in the 1960s, "Old Hollywood" was rapidly losing money; the studios were unsure how to react to the much-changed audience demographics. The change in the market during the period went from a middle-aged high school-educated audience in the mid-1960s to a younger, more affluent, college-educated demographic: by the mid-1970s, 76% of all movie-goers were under 30, 64% of whom had gone to college. ^[34] European films, both arthouse and commercial (especially the Commedia all'italiana, the French New Wave, the Spaghetti Western), and Japanese cinema ^[35] were making a splash in the United States – the huge market of disaffected youth seemed to find relevance and artistic meaning in movies like Michelangelo Antonioni's Blowup , with its oblique narrative structure and full-frontal female nudity. ^{[36] [37]}

The desperation felt by studios during this period of economic downturn, and after the losses from expensive movie flops, led to innovation and risk-taking, allowing greater control by younger directors and producers. ^[38] Therefore, in an attempt to capture that audience that found a connection to the "art films" of Europe, the studios hired a host of young filmmakers and allowed them to make their films with relatively little studio control. Some of whom, like actor Jack Nicholson and director Peter Bogdanovich, were mentored by "King of the Bs" Roger Corman ^{[39] [3] [40] [41] [28]} while others like Dennis Hopper (who was the main lead in Curtis Harrington's 1961 supernatural thriller Night Tide ) ^{[42] [43]} and celebrated cinematographer Vilmos Zsigmond worked for lesser-known B movie directors like Ray Dennis Steckler, known for the 1962 Arch Hall Jr. vehicle Wild Guitar ^[44] and the 1963 horror musical flick The Incredibly Strange Creatures Who Stopped Living and Became Mixed-Up Zombies . ^[45] This, together with the breakdown of the Hays Code ^[46] following the Freedman v. Maryland court case in 1965 and the new ratings system in 1968 ^[47] (reflecting growing market segmentation) set the scene for the New Hollywood. ^[48]

Bonnie and Clyde and The Graduate

A defining film of the New Hollywood generation was Bonnie and Clyde (1967). ^[49] Produced by and starring Warren Beatty and directed by Arthur Penn, its combination of graphic violence and humor, as well as its theme of glamorous disaffected youth, was a hit with audiences. The film eventually won Academy Awards for Best Supporting Actress (Estelle Parsons) ^[50] and Best Cinematography. ^{[51] [52]}

When Jack L. Warner, then-CEO of Warner Bros., first saw a rough cut of Bonnie and Clyde in the summer of 1967, he hated it. Distribution executives at Warner Brothers agreed, giving the film a low-key premiere and limited release. Their strategy appeared justified when Bosley Crowther, middlebrow film critic at The New York Times, gave the movie a scathing review. "It is a cheap piece of bald-faced slapstick comedy," he wrote, "that treats the hideous depredations of that sleazy, moronic pair as though they were as full of fun and frolic as the jazz-age cut-ups in Thoroughly Modern Millie ..." Other notices, including those from Time and Newsweek magazines, were equally dismissive. ^[53]

Its portrayal of violence and ambiguity in regard to moral values, and its startling ending, divided critics. Following one of the negative reviews, Time magazine received letters from fans of the movie, and according to journalist Peter Biskind, the impact of critic Pauline Kael in her positive review of the film (October 1967, New Yorker) led other reviewers to follow her lead and re-evaluate the film (notably Newsweek and Time). ^[54] Kael drew attention to the innocence of the characters in the film and the artistic merit of the contrast of that with the violence in the film: "In a sense, it is the absence of sadism — it is the violence without sadism — that throws the audience off balance at Bonnie and Clyde. The brutality that comes out of this innocence is far more shocking than the calculated brutalities of mean killers." Kael also noted the reaction of audiences to the violent climax of the movie, and the potential to empathize with the gang of criminals in terms of their naiveté and innocence reflecting a change in expectations of American cinema. ^[55]

The cover story in Time magazine in December 1967, celebrated the movie and innovation in American New Wave cinema. This influential article by Stefan Kanfer claimed that Bonnie and Clyde represented a "New Cinema" through its blurred genre lines, and disregard for honored aspects of plot and motivation, and that "In both conception and execution, Bonnie and Clyde is a watershed picture, the kind that signals a new style, a new trend." ^[37] Biskind states that this review and turnaround by some critics allowed the film to be re-released, thus proving its commercial success and reflecting the move toward the New Hollywood. ^[56] The impact of this film is important in understanding the rest of the American New Wave, as well as the conditions that were necessary for it.

Also released the same year was another era-defining hit about the celebration of youthful rebellion The Graduate , staring Dustin Hoffman and directed by Mike Nichols (for which he won the film's sole Oscar for Best Director), about a young collage graduate rejecting the traditional values of his parents and their hypocritical society alongside a future in "plastics". ^[57]

These initial successes paved the way for the studio to relinquish almost complete control to these innovative young filmmakers. In the mid-1970s, idiosyncratic, startlingly original films such as Paper Moon , Dog Day Afternoon , Chinatown , and Taxi Driver , among others, enjoyed enormous critical and commercial success. These successes by the members of the New Hollywood led each of them in turn to make more and more extravagant demands, both on the studio and eventually on the audience.

Characteristics

Bonnie and Clyde (1967)

Night of the Living Dead (1968)

2001: A Space Odyssey (1968)

The new generation of Hollywood filmmakers was most importantly, from the studios' view, young, therefore able to reach the youth audience they were losing. This collective of actors, screenwriters and directors, dubbed the "New Hollywood" by the press, briefly changed the business from the producer-driven Hollywood system of the past as Todd Berliner has written about the period's unusual narrative practices.

The 1970s, Berliner says, marks Hollywood's most significant formal transformation since the conversion to sound film and is the defining period separating the storytelling modes of the studio era and contemporary Hollywood. New Hollywood films deviate from classical narrative norms more than Hollywood films from any other era or movement. Their narrative and stylistic devices threaten to derail an otherwise straightforward narration. Berliner argues that five principles govern the narrative strategies characteristic of Hollywood films of the 1970s:

• Seventies films show a perverse tendency to integrate, in narrative incidental ways, story information and stylistic devices counterproductive to the films' overt and essential narrative purposes.
• Hollywood filmmakers of the 1970s often situate their film-making practices in between those of classical Hollywood and those of European and Asian art cinema.
• Seventies films prompt spectator responses more uncertain and discomforting than those of more typical Hollywood cinema.
• Seventies narratives place an uncommon emphasis on irresolution, particularly at the moment of climax or in epilogues, when more conventional Hollywood movies busy themselves tying up loose ends.
• Seventies cinema hinders narrative linearity and momentum and scuttles its potential to generate suspense and excitement. ^[58]

Seventies cinema also dealt with female identity in the era of second wave feminism, masculine crises featuring flawed male characters, downbeat conclusions and pessimistic subject matters ^{[59] [60] [61] [30] [62] [63] [64]} alongside emotional realism in female identity stories, ^[65] negative attitudes toward authoritative institutions and other aspects of American life ^[66] and hard-nosed depictions of an America reeling from tense conflicts like The Vietnam War and President Richard Nixon's Watergate scandal. ^{[67] [68]} Some New Hollywood titles like The Last Movie and Phantom of the Paradise had more eccentric characteristics including indulgent storylines and dizzying disregard of genre conventions. ^[69]

Thomas Schatz points to another difference with the Hollywood Golden Age, which deals with the relationship of characters and plot. He argues that plot in classical Hollywood films (and some of the earlier New Hollywood films like The Godfather) "tended to emerge more organically as a function of the drives, desires, motivations, and goals of the central characters". However, beginning with mid-1970s, he points to a trend that "characters became plot functions". ^[70]

During the height of the studio system, films were made almost exclusively on set in isolated studios. The content of films was limited by the Motion Picture Production Code, and though golden-age film-makers found loopholes in its rules, the discussion of more taboo content through film was effectively prevented. The shift towards a "new realism" was made possible when the Motion Picture Association of America film rating system was introduced and location shooting was becoming more viable. New York City was a favorite spot for this new set of filmmakers due to its gritty and grimy atmosphere. ^{[71] [72] [73] [74]}

Because of breakthroughs in film technology (e.g. the Panavision Panaflex camera, introduced in 1972; the Steadicam, introduced in 1976), the New Hollywood filmmakers could shoot 35mm camera film in exteriors with relative ease. Since location shooting was cheaper (no sets need to be built) New Hollywood filmmakers rapidly developed the taste for location shooting, resulting in a more naturalistic approach to filmmaking, especially when compared to the mostly stylized approach of classical Hollywood musicals and spectacles made to compete with television during the 1950s and early 1960s. The documentary films of D.A. Pennebaker, the Maysles Brothers and Frederick Wiseman, among others, also influenced filmmakers of this era. ^{[75] [76]}

However, in editing, New Hollywood filmmakers adhered to realism more liberally than most of their classical Hollywood predecessors, often using editing for artistic purposes rather than for continuity alone, a practice inspired by European art films and classical Hollywood directors such as D. W. Griffith and Hitchcock. Films with unorthodox editing included Easy Rider's use of jump cuts (influenced by the works of experimental collage filmmaker Bruce Conner ^{[77] [78] [79]} ) to foreshadow the climax of the movie, as well as subtler uses, such as those to reflect the feeling of frustration in Bonnie and Clyde , the subjectivity of the protagonist in The Graduate and the passage of time in the famous match cut from 2001: A Space Odyssey . ^{[80] [81]} Dense sound design was also commonplace during this era. ^[82]

Also influential were the works of experimental and structural filmmakers Arthur Lipsett, ^[83] Stan Brakhage, ^[2] Bruce Baillie, ^[84] Jordan Belson, ^{[85] [86]} John Whitney, ^[86] Scott Bartlett, ^[87] Maya Deren, ^[32] Michael Snow and Kenneth Anger ^[2] with their combinations of music and imagery and each were cited by George Lucas, Francis Ford Coppola and Martin Scorsese as influences. ^{[88] [32]} The New Hollywood generation of directors and screenwriters (each educated at either USC, UCLA, NYU and AFI ^[89] ) such as Coppola, Lucas, Scorsese, Steven Spielberg, John Milius and Paul Schrader ^[90] were sometimes jokingly labeled as "Movie Brats" or "Young Turks". ^[91]

The end of the production code enabled New Hollywood films to feature anti-establishment political themes, the use of rock music, and sexual freedom deemed "counter-cultural" by the studios. ^[92] The youth movement of the 1960s turned anti-heroes like Bonnie and Clyde and Cool Hand Luke into pop-culture idols, and Life magazine called the characters in Easy Rider "part of the fundamental myth central to the counterculture of the late 1960s." ^[93] Easy Rider also affected the way studios looked to reach the youth market. ^[93] The success of Midnight Cowboy , in spite of its "X" rating, was evidence for the interest in controversial themes at the time and also showed the weakness of the rating system and segmentation of the audience. ^[94]

Interpretations on defining the movement

For Peter Biskind, the new wave was foreshadowed by Bonnie and Clyde and began in earnest with Easy Rider. Biskind's book Easy Riders, Raging Bulls argues that the New Hollywood movement marked a significant shift towards independently produced and innovative works by a new wave of directors, but that this shift began to reverse itself when the commercial success of Jaws and Star Wars led to the realization by studios of the importance of blockbusters, advertising and control over production (even though the success of The Godfather was said to be the precursor to the blockbuster phenomenon). ^{[95] [96]}

Writing in 1968, critic Pauline Kael argued that the importance of The Graduate was in its social significance in relation to a new young audience, and the role of mass media, rather than any artistic aspects. Kael argued that college students identifying with The Graduate were not too different from audiences identifying with characters in dramas of the previous decade. ^[97] She also compared this era of cinema to "tangled, bitter flowering of American letters in the 1850s". ^[98]

Filmmaker Quentin Tarantino identified in his 2022 book Cinema Speculation that: ^[13]

"regular moviegoers were becoming weary of modern American movies. The darkness, the drug use, the embrace of sensation-the violence, the sex, and the sexual violence. But even more than that, they became weary of the anti-everything cynicism... Was everything a bummer? Was everything a drag? Was every movie about some guy with problems?"

In 1980, film historian/scholar Robert P. Kolker examined New Hollywood film directors in his book A Cinema of Loneliness: Penn, Kubrick, Coppola, Scorsese, Altman, and how their films influenced American society of the 1960s and 1970s. ^[99] Kolker observed that "for all the challenge and adventure, their films speak to a continual impotence in the world, an inability to change and to create change." ^[100]

John Belton points to the changing demographic to even younger, more conservative audiences in the mid 1970s (50% aged 12–20) and the move to less politically subversive themes in mainstream cinema, ^[101] as did Thomas Schatz, who saw the mid- to late 1970s as the decline of the art cinema movement as a significant industry force with its peak in 1974–75 with Nashville and Chinatown. ^[102]

Geoff King sees the period as an interim movement in American cinema where a conjunction of forces led to a measure of freedom in filmmaking yet also pointed out that scholarships about the era tend to center on two versions: the auteur-driven indie and blockbuster eras. ^{[103] [104]} Todd Berliner says that 70s cinema resists the efficiency and harmony that normally characterize classical Hollywood cinema and tests the limits of Hollywood's classical model. ^[105]

According to author and film critic Charles Taylor (Opening Wednesday at a Theater or Drive-In Near You), he stated that "the 1970s remain the third — and, to date, last — great period in American movies". ^[106] Author and film critic David Thomson also shared similar sentiments to the point of dubbing the era "the decade when movies mattered". ^[98]

Author A.D. Jameson (I Find Your Lack of Faith Disturbing), on the other hand, claimed that Star Wars was New Hollywood's finest achievement that actually embodied the characteristics of the respected "serious, sophisticated adult films" while questioning the often-told critical narrative of said "last great decade of American cinema". ^{[107] [108]}

Author Julie A. Turnock, in her book Plastic Reality, stated that one common explanation as to why both Star Wars and Close Encounters succeeded was that each film offered hopeful optimism for troubling times as opposed to the "doom and gloom" cinema of the era that audiences were getting tired of with emphasis on mistrust in authority, pessimistic and fatalistic views of the future and anti-heroic aimlessness. ^[109]

Nathan Rabin, writing for an article at Boston.com in 2015, contested that Jaws, despite being labeled by conventional wisdom as the film that killed the quirky New Hollywood, didn't felt like one by today's vantage point. ^[110]

Austrian Film Museum, which held a 2013 program entitled The Real Eighties featuring some New Hollywood titles like The King of Comedy , Blow Out and American Gigolo , stated that: ^[111]

All ills spring from the 1980s. A transitional decade that witnessed the film industry’s restructuring along the lines of President Reagan’s neoliberal agenda, the eighties did away with the last remnants of New Hollywood while laying the foundations for today’s High Concept wasteland – thus goes an all too familiar tale of decline. The retrospective The Real Eighties questions this commonplace of film history and sides with the mainstream of Hollywood cinema: filmic realisms of the 1980s – in immediate proximity to the dream factories of Steven Spielberg or George Lucas, yet at odds with the decade’s political and aesthetic imperatives – await rediscovery.

Steven Hyden, writing for Grantland , called the Movie Brats the "cinematic version" of classic rock, to the point of roll calling Spielberg as the Beatles, Scorsese as the Velvet Underground, Coppola as Bob Dylan, Lucas as Pink Floyd, Robert Altman as Neil Young, Brian De Palma as Led Zeppelin, Bogdanovich as the Beach Boys and Hal Ashby as the Kinks. ^[63]

Criticism

Los Angeles Times article film critic Manohla Dargis described New Hollywood as the "halcyon age" of 1970s filmmaking, that "was less revolution than business as usual, with rebel hype". ^[112] She also pointed out in her New York Times article that the era's enthusiasts insist this was "when American movies grew up (or at least starred underdressed actresses); when directors did what they wanted (or at least were transformed into brands); when creativity ruled (or at least ran gloriously amok, albeit often on the studio's dime)." ^[113]

Molly Haskell, in her book From Reverence to Rape: The Treatment of Women in the Movies , described how this era of cinema "with its successive revelations, progressed like a stripper, though awkwardly—like a novice in a hurry to get off the stage". ^[114]

This era was also infamous for its excessive decadence and on-set mishaps (as was the case for Apocalypse Now when the tumultuous production was documented by Eleanor Coppola which in turn became her 1991 documentary Hearts of Darkness: A Filmmaker's Apocalypse ). ^{[115] [116] [117] [118] [119]} Incidents plaguing the behind-the-scenes of some of the horror films from this era (such as Rosemary's Baby , The Exorcist , Twilight Zone: The Movie , Poltergeist and The Omen ) were also the subjects for the docuseries Cursed Films . ^{[120] [121] [122] [123] [124]} Even Spielberg, who co-directed/co-produced Twilight Zone with John Landis, was so disgusted by the latter's handling of a deadly helicopter accident that resulted in the death of three actors, that he ended their friendship and publicly called for the end of New Hollywood. ^[125] When approached by the press about the accident, he stated: ^[126]

"No movie is worth dying for. I think people are standing up much more now, than ever before, to producers and directors who ask too much. If something isn't safe, it's the right and responsibility of every actor or crew member to yell, 'Cut!'

The Golden Raspberry Awards (better known as The Razzies) emerged during the twilight of this era dishonoring productions such as Freidkin's Cruising and Cimino's Heaven's Gate alongside two megamusicals responsible for setting up the awards Xanadu and Can't Stop the Music (the latter would eventually be crowned the first recipient of Golden Raspberry Award for Worst Picture). ^{[127] [128]}

Legacy

The films of New Hollywood influenced future mainstream ^[107] and independent filmmakers such as Tarantino, Paul Thomas Anderson and Noah Baumbach. ^{[129] [63]} Todd Phillips's 2019 DC Comics adaptation Joker , alongside the film's period setting, was inspired by the Martin Scorsese classics Taxi Driver and The King of Comedy ^[130] while Alexander Payne's 2023 film The Holdovers took inspiration from Ashby's works. ^[131] Tarantino's 2019 Academy Award-winning Once Upon a Time in Hollywood lamented the end of the Golden Age while signalling the beginning of this era. ^[132]

They also influenced both the Poliziotteschi genre films in Italy ^{[133] [134]} and a decade later the Cinéma du look movement in France. ^[135] The narrative for the 1983 British shot-on-video film Suffer Little Children was influenced in part by Brian De Palma's Carrie and John Carpenter's Halloween . ^[136]

American Eccentric Cinema has been noted as influenced by this era. ^[137] Both traditions have similar themes and narratives of existentialism and the need for human interaction. ^[137] New Hollywood focuses on the darker elements of humanity and society within the context of the American Dream in the mid-1960s to the early 1980s, ^[137] with themes that were reflective of sociocultural issues and were centered around the potential meaninglessness of pursuing the American Dream as generation upon generation was motivated to possess it. ^[137] In comparison, American Eccentric Cinema does not have a distinct context, its films show characters who are very individual and their concerns are very distinctive to their own personalities. ^[137]

The New American Cinema has also been ripe for parody as in Peter Jackson's 1989 Muppet satire Meet the Feebles (spoofing the Russian Roulette scene from The Deer Hunter ); ^{[138] [139]} Ernie Fosselius's spoofs Hardware Wars (1978) ^[140] and Porklips Now (1980); ^[141] Jim Reardon's cult 1986 animated student film Bring Me the Head of Charlie Brown , spoofing Taxi Driver, The Wild Bunch, and Bring Me the Head of Alfredo Garcia ; ^[142] and Canadian video artist Todd Graham's 1987 cult fan film Apocalypse Pooh, a bizarrely comedic mash-up of Disney's Winnie the Pooh and Coppola's Apocalypse Now. ^{[143] [144] [145]}

Figures of the movement

Actors

• Brooke Adams ^{[146] [64]}
• Nancy Allen ^[147]
• Woody Allen ^{[148] [149]}
• Susan Anspach ^[150]
• Alan Arkin ^[149]
• René Auberjonois ^{[151] [152] [153]}
• Anne Bancroft ^[41]
• Ned Beatty ^[154]
• Warren Beatty ^{[155] [60] [41] [153]}
• Richard Benjamin ^[149]
• Karen Black ^{[156] [157]}
• Linda Blair ^[158]
• Peter Boyle ^[156]
• Marlon Brando ^{[159] [41] [148]}
• Beau Bridges ^[160]
• Jeff Bridges ^[161]
• Albert Brooks ^{[162] [149]}
• Mel Brooks ^{[163] [149]}
• Richard Burton ^[41]
• Ellen Burstyn ^[148]
• James Caan ^{[148] [164] [41]}
• David Carradine ^[148]
• Keith Carradine ^[165]
• Diahann Carroll ^[166]
• John Cassavetes ^[147]
• John Cazale ^[167]
• Julie Christie ^{[160] [153]}
• Candy Clark ^{[168] [169] [170]}
• Jill Clayburgh ^[171]
• Sean Connery ^[148]
• Bud Cort ^[172]
• Bill Cosby ^[173]
• Jamie Lee Curtis ^[3]
• Sandy Dennis ^[174]
• Robert De Niro ^[148]
• Bruce Dern ^{[3] [175]}
• Danny DeVito ^[176]
• Matt Dillon ^[177]
• Michael Douglas ^{[148] [173]}
• Brad Dourif ^[176]
• Richard Dreyfuss ^{[148] [3] [173] [149]}
• Faye Dunaway ^[148]
• Robert Duvall ^{[148] [41]}
• Shelley Duvall ^{[148] [178]}
• Clint Eastwood ^{[148] [159]}
• Peter Falk ^[179]
• Mia Farrow ^[147]
• Sally Field ^[173]
• Jane Fonda ^[181]
• Peter Fonda ^{[182] [41]}
• Harrison Ford ^[148]
• Jodie Foster ^{[148] [68]}
• Teri Garr ^[186]
• Ben Gazzara ^[179]
• Richard Gere ^{[187] [146]}
• Jeff Goldblum ^[64]
• Elliott Gould ^[188]
• Lee Grant ^{[189] [166]}
• Charles Grodin ^{[159] [149]}
• Gene Hackman ^{[148] [147]}
• Mark Hamill ^{[107] [148]}
• Goldie Hawn ^[148]
• Buck Henry ^{[190] [191]}
• Dustin Hoffman ^[193]
• Dennis Hopper ^[194]
• Ron Howard ^[3]
• John Hurt ^{[158] [195]}
• Amy Irving ^[147]
• Glenda Jackson ^[148]
• Olivia Newton John ^{[196] [197]}
• James Earl Jones ^{[166] [148]}
• Madeline Kahn ^{[198] [159] [149]}
• Carol Kane ^[149]
• Diane Keaton ^{[148] [41] [173]}
• Harvey Keitel ^[59]
• Sally Kellerman ^[153]
• Margot Kidder ^[199]
• Shirley Knight ^[203]
• Kris Kristofferson ^[160]
• Diane Ladd ^[5]
• Jessica Lange ^{[204] [3]}
• Cloris Leachman ^[160]
• Cleavon Little ^[205]
• John Lithgow ^[147]
• Ali MacGraw ^[148]
• Steve Martin ^[206]
• Lee Marvin ^[207]
• Paul Le Mat ^[3]
• Walter Matthau ^{[159] [148] [173]}
• Malcolm McDowell ^[148]
• Steve McQueen ^{[148] [147]}
• Liza Minnelli ^{[159] [3] [148]}
• Zero Mostel ^[149]
• Paul Newman ^{[156] [129]}
• Jack Nicholson ^[208]
• Warren Oates ^[156]
• Ryan O'Neal ^{[148] [159]}
• Tatum O'Neal ^[198]
• Al Pacino ^{[192] [41] [148]}
• Dolly Parton ^[197]
• Anthony Perkins ^{[209] [207]}
• Joe Pesci ^[149]
• Bernadette Peters ^[206]
• Mackenzie Phillips ^[3]
• Sidney Poitier ^{[210] [147] [173]}
• Michael J. Pollard ^[211]
• Richard Pryor ^{[159] [184] [148]}
• Randy Quaid ^[195]
• Robert Redford ^{[148] [129] [180] [212]}
• Vanessa Redgrave ^[213]
• Carl Reiner ^[149]
• Burt Reynolds ^[148]
• Jason Robards ^[214]
• Diana Ross ^{[159] [184] [148]}
• Richard Roundtree ^[196]
• Gena Rowlands ^{[148] [30]}
• Kurt Russell ^[158]
• Roy Scheider ^{[156] [152] [180]}
• George C. Scott ^{[215] [72]}
• George Segal ^{[216] [217] [149]}
• Peter Sellers ^{[41] [148] [218]}
• Robert Shaw ^[147]
• Martin Sheen ^[148]
• Sam Shepard ^{[219] [146]}
• Cybill Shepherd ^[159]
• Talia Shire ^{[159] [148]}
• Tom Skerritt ^[220]
• Charles Martin Smith ^[3]
• Carrie Snodgress ^[221]
• Sissy Spacek ^{[148] [147]}
• Sylvester Stallone ^{[148] [147]}
• Harry Dean Stanton ^{[177] [148] [222] [223]}
• Mary Steenburgen ^[224]
• Rod Steiger ^[147]
• Dean Stockwell ^[175]
• Susan Strasberg ^[175]
• Meryl Streep ^{[148] [225]}
• Barbra Streisand ^[226]
• Donald Sutherland ^[227]
• Elizabeth Taylor ^[41]
• Lily Tomlin ^{[228] [148]}
• Rip Torn ^{[229] [177] [230]}
• John Travolta ^[232]
• Cicely Tyson ^[233]
• Jon Voight ^{[192] [234] [148]}
• Christopher Walken ^{[235] [206] [173]}
• Sigourney Weaver ^[236]
• Tuesday Weld ^{[237] [209] [207]}
• Gene Wilder ^{[148] [149]}
• Billy Dee Williams ^{[159] [184]}
• Cindy Williams ^[3]
• Paul Williams ^[238]
• Robin Williams ^{[239] [240]}
• Shelley Winters ^[235]

Directors

• Robert Aldrich ^{[241] [242]}
• Woody Allen ^{[243] [244] [245]}
• Robert Altman ^{[251] [252] [253]}
• Michael Apted ^[254]
• Hal Ashby ^[259]
• Aram Avakian ^[258]
• John G. Avildsen ^[262]
• John Badham ^{[263] [162] [264]}
• Ralph Bakshi ^{[265] [235] [149]}
• Paul Bartel ^{[3] [177]}
• Robert Benton ^{[129] [30] [162] [245]}
• John Berry ^{[166] [266]}
• Peter Bogdanovich ^[267]
• John Boorman ^{[268] [129] [258]}
• James Bridges ^{[269] [30] [180]}
• Albert Brooks ^[162]
• Mel Brooks ^{[270] [129] [46] [149]}
• Richard Brooks ^[180]
• Charles Burnett ^{[177] [271]}
• John Carpenter ^[274]
• John Cassavetes ^[276]
• Joyce Chopra ^[277]
• Michael Cimino ^[281]
• Shirley Clarke ^{[282] [201] [277] [33]}
• Larry Cohen ^{[177] [283]}
• Kathleen Collins ^[277]
• Francis Ford Coppola ^[285]
• Roger Corman ^{[286] [287]}
• Wes Craven ^{[3] [46]}
• Michael Crichton ^[288]
• Joe Dante ^{[286] [3] [125] [247] [289]}
• Julie Dash ^[277]
• Jonathan Demme ^{[162] [268] [3] [290]}
• Brian De Palma ^[291]
• Richard Donner ^{[292] [14]}
• Robert Downey Sr. ^[3]
• Blake Edwards ^[290]
• Richard Fleischer ^{[162] [261] [293]}
• Miloš Forman ^[295]
• Bob Fosse ^{[296] [261] [297] [149]}
• Robert Frank ^[33]
• John Frankenheimer ^[299]
• William Friedkin ^{[287] [243] [297] [290]}
• Sidney J. Furie ^{[184] [8]}
• Haile Gerima ^{[177] [271]}
• Milton Moses Ginsberg ^[230]
• Ulu Grosbard ^[129]
• Monte Hellman ^{[172] [286] [258]}
• Buck Henry ^{[162] [190] [191]}
• George Roy Hill ^{[263] [149] [290]}
• Jack Hill ^[300]
• Walter Hill ^{[301] [241] [242] [290]}
• Arthur Hiller ^[305]
• Tobe Hooper ^{[27] [297]}
• Dennis Hopper ^[306]
• Faith Hubley ^[277]
• John Huston ^{[129] [152]}
• Peter Hyams ^{[307] [308]}
• Henry Jaglom ^{[5] [261]}
• Norman Jewison ^{[309] [46] [180]}
• Jonathan Kaplan ^{[310] [177]}
• Lawrence Kasdan ^{[311] [312]}
• Philip Kaufman ^{[64] [313]}
• Irvin Kershner ^{[261] [290]}
• Randal Kleiser ^[233]
• Barbara Kopple ^[277]
• Ted Kotcheff ^{[147] [314]}
• Stanley Kubrick ^[315]
• John Landis ^[317]
• Tom Laughlin ^[286]
• Richard Lester ^{[3] [258] [149]}
• George Lucas ^[318]
• Sidney Lumet ^[320]
• David Lynch ^[321]
• Nelson Lyon ^[322]
• Terrence Malick ^[323]
• Michael Mann ^[164]
• Elaine May ^[325]
• Paul Mazursky ^[329]
• Jim McBride ^{[258] [297]}
• John Milius ^[330]
• Robert Mulligan ^{[261] [298]}
• Floyd Mutrux ^[177]
• Hal Needham ^[331]
• Ralph Nelson ^[160]
• Mike Nichols ^[332]
• Alan J. Pakula ^[333]
• Alan Parker ^[180]
• Gordon Parks ^{[162] [300]}
• Ivan Passer ^{[157] [268] [30]}
• Sam Peckinpah ^[334]
• Melvin Van Peebles ^{[275] [297]}
• Larry Peerce ^{[261] [200]}
• Arthur Penn ^[335]
• Frank Perry ^[337]
• Roman Polanski ^[339]
• Sydney Pollack ^{[156] [30] [180] [149]}
• Bob Rafelson ^[340]
• Robert Redford ^{[245] [212]}
• Julia Reichert ^[277]
• Karel Reisz ^[162]
• Michael Ritchie ^[342]
• Martin Ritt ^{[261] [290]}
• George A. Romero ^[345]
• Stuart Rosenberg ^{[156] [30] [298]}
• Herbert Ross ^{[206] [346] [173] [149]}
• Stephanie Rothman ^[277]
• Alan Rudolph ^{[347] [261]}
• Richard Rush ^{[207] [348] [258] [149]}
• Richard C. Sarafian ^{[287] [8] [205]}
• Franklin J. Schaffner ^{[288] [261] [3] [290]}
• Jerry Schatzberg ^[349]
• John Schlesinger ^[350]
• Paul Schrader ^[351]
• Martin Scorsese ^[352]
• Ridley Scott ^{[27] [223]}
• Don Siegel ^{[156] [244] [353] [290]}
• Joan Micklin Silver ^{[354] [324] [261]}
• Steven Spielberg ^[356]
• Barbara Streisand ^[357]
• Mel Stuart ^[261]
• James Toback ^[358]
• Michael Wadleigh ^[289]
• Peter Watkins ^[359]
• Claudia Weill ^{[261] [277]}
• Haskell Wexler ^{[3] [149]}
• Michael Winner ^{[360] [162]}
• Fronza Woods ^[277]
• Peter Yates ^[361]
• David Zucker, Jim Abrahams, and Jerry Zucker ^{[362] [363] [364]}

Others

• Dede Allen ^[365]
• Irwin Allen ^{[366] [367] [368]}
• John Alcott ^{[369] [85]}
• Nestor Almendros ^[286]
• John A. Alonzo ^{[286] [370]}
• Steven Bach ^{[371] [372] [173]}
• Burt Bacharach ^[196]
• Elaine and Saul Bass ^[373]
• Elmer Bernstein ^{[294] [374]}
• Don Bluth ^[375]
• Chuck Braverman ^[376]
• Gerald Busby ^[377]
• Bill Butler ^[378]
• William Peter Blatty ^[379]
• Wendy Carlos ^[385]
• Allan Carr ^{[173] [233]}
• Michael Chapman ^[369]
• Paddy Chayefsky ^[386]
• Robert Chartoff ^[245]
• Bill Conti ^[387]
• Stewart Copeland ^[391]
• Jordan Cronenweth ^[392]
• Sally Cruikshank ^{[393] [394] [395]}
• Hal David ^[196]
• Caleb Deschanel ^[396]
• Pino Donaggio ^{[397] [377]}
• Nancy Dowd ^{[261] [129]}
• Tangerine Dream ^[401]
• Bob Dylan ^{[402] [196] [403]}
• Roger Ebert ^{[404] [377]}
• Robert Evans ^[409]
• Pablo Ferro ^{[410] [411] [412]}
• Jules Feiffer ^[240]
• Pink Floyd ^[377]
• William A. Fraker ^[413]
• Tak Fujimoto ^[414]
• Bob Gale ^[415]
• The Bee Gees ^{[196] [197]}
• Bo Goldman ^{[10] [416]}
• William Goldman ^{[11] [314]}
• Anthony Goldschmidt ^[417]
• Jerry Goldsmith ^[419]
• Berry Gordy ^{[159] [184]}
• Conrad L. Hall ^{[420] [421]}
• Bo Harwood ^{[422] [377]}
• Issac Hayes ^[196]
• Bernard Herrmann ^[423]
• Debra Hill ^[158]
• James Wong Howe ^[424]
• Willard Huyck ^{[425] [426]}
• Quincy Jones ^[427]
• Pauline Kael ^[429]
• Gloria Katz ^{[425] [426]}
• László Kovács ^{[430] [431]}
• Alan Ladd Jr. ^[173]
• Ring Lardner Jr. ^{[166] [266]}
• Michel Legrand ^{[432] [433]}
• Ernest Lehman ^[41]
• Boris Leven ^[434]
• Barry Malkin ^[435]
• Johnny Mandel ^[436]
• The Monkees ^[390]
• Giorgio Moroder ^[440]
• Ennio Morricone ^{[441] [442] [384]}
• Robby Müller ^[222]
• Walter Murch ^{[184] [89]}
• Hal Needham ^[443]
• David Newman ^{[258] [426]}
• Harry Nilsson ^{[444] [445] [446] [240]}
• Jack Nitzsche ^{[447] [448] [438]}
• Dan O'Bannon ^[223]
• Mike Oldfield ^[449]
• Van Dyke Parks ^[240]
• Dan Perri ^[450]
• Polly Platt ^{[451] [159]}
• Fred Roos ^[233]
• Nino Rota ^{[387] [377]}
• Owen Roizman ^[452]
• Alvin Sargent ^[453]
• Waldo Salt ^{[166] [266]}
• Andrew Sarris ^[430]
• John Sayles ^{[3] [289] [312]}
• Lalo Schifrin ^[456]
• Bert Schneider ^{[457] [258]}
• Thelma Schoonmaker ^{[458] [459]}
• David Shire ^{[460] [377]}
• Ronald Shusett ^[223]
• Stirling Silliphant ^[147]
• Simon & Garfunkel ^{[377] [196] [426]}
• Gene Siskel ^{[404] [377]}
• Terry Southern ^[41]
• Spirit ^[258]
• Ray Stark ^[245]
• Robert Stigwood ^[233]
• Oliver Stone ^[195]
• Vittorio Storaro ^{[461] [89]}
• Robert Surtees ^[11]
• Robert Towne ^{[462] [3] [370] [426]}
• Donald Trumbull ^{[85] [86] [463]}
• Vangelis ^{[377] [392] [464]}
• Tom Waits ^[467]
• Haskell Wexler ^[287]
• John Williams ^[471]
• Paul Williams ^{[472] [473]}
• Gordon Willis ^{[287] [60] [68]}
• John David Wilson ^{[474] [475] [476]}
• Irwin Winkler ^[245]
• Frank Yablans ^[89]
• Danny Zeitlin ^{[377] [64]}
• Robert Zemeckis ^[415]
• Vilmos Zsigmond ^{[477] [478]}

Notable studios associated with New Hollywood

• 20th Century Fox ^{[158] [173]}
• American International Pictures ^{[3] [57]}
• American Zoetrope ^{[118] [287] [430] [245]}
• BBS Productions ^{[479] [430] [258]}
• Columbia Pictures ^{[164] [480] [173] [245] [258]}
• Embassy Pictures ^{[287] [289]}
• Filmways Pictures ^{[481] [147]}
• MGM ^{[430] [258]}
• New World Pictures ^[482]
• Orion Pictures ^{[147] [173]}
• Paramount Pictures ^{[162] [173] [245]}
• United Artists ^{[158] [173] [245] [258]}
• Universal Pictures ^{[158] [173] [245] [258]}
• Walt Disney Productions ^[240]
• Warner Brothers ^{[158] [173] [289] [483]}

Films of the movement

This is a dynamic list and may never be able to satisfy particular standards for completeness. You can help by editing the page to add missing items, with references to reliable sources.

This is a chronological list of films that are generally considered to be "New Hollywood" productions:

1950s–1960s

• Pull My Daisy (1959) ^[33] ≈
• Shadows (1959) ^[33] ≈
• Psycho (1960) ^[484] ≈
• Wild River (1960) ^[485] ≈
• The Children's Hour (1961) ^[486]
• The Connection (1961) ^[33]
• The Hustler (1961) ^[487] ≈
• Splendor in the Grass (1961) ^[485]
• David and Lisa (1962) ^{[488] [489]}
• Days of Wine and Roses (1962) ^[490] ≈
• Lolita (1962) ^[149]
• The Manchurian Candidate (1962) ^{[491] [368]} ≈
• The Miracle Worker (1962) ^[492] ≈
• What Ever Happened to Baby Jane? (1962) ^[493] ≈
• The Cool World (1963) ^[201] ≈
• The Great Escape (1963) ^[494]
• Hud (1963) ^[495] ≈
• Ladybug, Ladybug (1963) ^[207]
• Love with the Proper Stranger (1963) ^[496]
• Dr. Strangelove, or: How I Learned to Stop Worrying and Love the Bomb (1964) ^{[185] [41] [368] [149]} ≈
• Fail Safe (1964) ^[319]
• The Pawnbroker (1964) ^[498] ≈
• Faster, Pussycat! Kill! Kill! (1965) ^[499]
• The Hill (1965) ^[319]
• Inside Daisy Clover (1965) ^{[500] [501]}
• The Loved One (1965) ^[237]
• Mickey One (1965) ^[504]
• A Thousand Clowns (1965) ^[505]
• Who Killed Teddy Bear? (1965) ^[506]
• An American Dream (1966) ^[507]
• The Chase (1966) ^[508]
• Dutchman (1966) ^{[200] [201]}
• The Group (1966) ^{[509] [319]}
• Lord Love a Duck (1966) ^[237]
• The Professionals (1966) ^[368]
• Ride in the Whirlwind (1966) ^{[430] [3] [2]}
• The Sand Pebbles (1966) ^[368]
• Seconds (1966) ^[513] ≈
• The Shooting (1966) ^{[430] [3] [180] [2]}
• This Property Is Condemned (1966) ^[514]
• Who's Afraid of Virginia Woolf? (1966) ^[516] ≈
• The Wild Angels (1966) ^[517]
• You're a Big Boy Now (1966) ^{[202] [152] [2]}
• Bonnie and Clyde (1967) ^[525] ≈
• The Born Losers (1967) ^[526]
• Cool Hand Luke (1967) ^[530] ≈
• Countdown (1967) ^[153]
• David Holzman's Diary (1967) ^{[297] [2]} ≈
• The Dirty Dozen (1967) ^[532]
• Dont Look Back (1967) ^{[522] [533]} ≈
• The Graduate (1967) ^[534] ≈
• Guess Who's Coming to Dinner? (1967) ^{[535] [210] [523]}
• Hombre (1967) ^[368]
• In Cold Blood (1967) ^[537] ≈
• In the Heat of the Night (1967) ^{[282] [147] [185] [523]} ≈
• The Incident (1967) ^{[538] [539] [201] [200]}
• Point Blank (1967) ^[541] ≈
• Portrait of Jason (1967) ^{[282] [277]} ≈
• The President's Analyst (1967) ^[368]
• The Producers (1967) ^{[129] [523] [149]} ≈
• Reflections in a Golden Eye (1967) ^{[60] [542]}
• Sweet Love, Bitter (1967) ^[200]
• Titicut Follies (1967) ^{[543] [533]} ≈
• The Trip (1967) ^{[502] [2]}
• Valley of the Dolls (1967) ^[544]
• Wait Until Dark (1967) ^[523]
• Who's That Knocking at My Door? (1967) ^[545]
• 2001: A Space Odyssey (1968) ^[548] ≈
• The Boston Strangler (1968) ^[293]
• Bullitt (1968) ^[552] ≈
• Bye Bye Braverman (1968) ^[553]
• Coogan's Bluff (1968) ^[270]
• The Detective (1968) ^[554]
• Faces (1968) ^{[261] [297] [180]} ≈
• Funny Girl (1968) ^{[184] [245]} ≈
• Greetings (1968) ^{[416] [268] [258]}
• Head (1968) ^{[479] [268] [258]}
• Hell in the Pacific (1968) ^[368]
• I Love You, Alice B. Toklas (1968) ^[326]
• The Legend of Lylah Clare (1968) ^[555]
• Madigan (1968) ^[290]
• Monterey Pop (1968) ^[533] ≈
• Night of the Living Dead (1968) ^[557] ≈
• None but the Brave (1968) ^[368]
• The Night They Raided Minsky's (1968) ^[558]
• Petulia (1968) ^{[546] [268] [258] [149]}
• Planet of the Apes (1968) ^{[559] [368]} ≈
• Pretty Poison (1968) ^[209]
• Psych-Out (1968) ^{[560] [348]}
• Rachel, Rachel (1968) ^[561]
• Rosemary's Baby (1968) ^[562] ≈
• The Sergeant (1968) ^[542]
• The Swimmer (1968) ^{[336] [489]}
• Targets (1968) ^{[287] [3] [258]}
• The Thomas Crown Affair (1968) ^{[261] [185] [368]} ≈
• UpTight! (1968) ^[563]
• Will Penny (1968) ^[368]
• Alice's Restaurant (1969) ^[564]
• The Arrangement (1969) ^[565]
• Bob & Carol & Ted & Alice (1969) ^[567]
• Butch Cassidy and the Sundance Kid (1969) ^[569] ≈
• Castle Keep (1969) ^[368]
• Coming Apart (1969) ^{[200] [201]}
• Downhill Racer (1969) ^{[129] [245]}
• Easy Rider (1969) ^[572] ≈
• Goodbye, Columbus (1969) ^[573]
• Hello, Dolly! (1969) ^[28]
• Hell's Angels '69 (1969) ^[300]
• John and Mary (1969) ^[574]
• Last Summer (1969) ^[575]
• The Learning Tree (1969) ^[300] ≈
• Me, Natalie (1969) ^{[576] [577]}
• Medium Cool (1969) ^{[570] [129] [258] [300] [149]} ≈
• Midnight Cowboy (1969) ^[578] ≈
• Model Shop (1969) ^[258]
• Out of It (1969) ^[579]
• Paint Your Wagon (1969) ^[28]
• Pit Stop (1969) ^[300]
• Putney Swope (1969) ^{[3] [41] [201]} ≈
• The Rain People (1969) ^[581]
• Salesman (1969) ^[533] ≈
• The Sterile Cuckoo (1969) ^{[3] [149]}
• Take the Money and Run (1969) ^{[270] [300] [149]}
• Tell Them Willie Boy Is Here (1969) ^{[582] [583]}
• That Cold Day in the Park (1969) ^{[174] [584]}
• They Shoot Horses, Don't They? (1969) ^[585]
• The Wedding Party (1969) ^[300]
• The Wild Bunch (1969) ^[586] ≈

1970s

1970–1972

• Adam at 6 A.M. (1970) ^[8]
• Airport (1970) ^{[10] [430] [66]}
• Alex in Wonderland (1970) ^{[580] [587] [2] [588] [149]}
• The Baby Maker (1970) ^[589]
• The Ballad of Cable Hogue (1970) ^{[502] [368]}
• Bloody Mama (1970) ^{[241] [242]}
• The Boys in the Band (1970) ^{[573] [129]}
• Brewster McCloud (1970) ^{[590] [502] [152] [258]}
• Catch-22 (1970) ^[591]
• Cotton Comes to Harlem (1970) ^{[589] [592] [593]}
• Diary of a Mad Housewife (1970) ^{[129] [261] [73]}
• End of the Road (1970) ^{[207] [258]}
• Five Easy Pieces (1970) ^[596] ≈
• Getting Straight (1970) ^[597]
• Gimme Shelter (1970) ^{[297] [571]}
• The Great White Hope (1970) ^[592]
• Halls of Anger (1970) ^{[589] [592]}
• Hi, Mom! (1970) ^{[152] [258]}
• The Honeymoon Killers (1970) ^{[598] [599]}
• Husbands (1970) ^{[261] [72]}
• I Am Somebody (1970) ^[277] ≈
• Ice (1970) ^[177]
• I Love My...Wife (1970) ^{[261] [566]}
• I Never Sang for My Father (1970) ^{[600] [601] [588]}
• Joe (1970) ^{[515] [3]}
• Kelly's Heroes (1970) ^{[288] [66] [368]}
• The Landlord (1970) ^{[571] [261] [177] [258]}
• The Liberation of L.B. Jones (1970) ^[602]
• Little Big Man (1970) ^{[570] [268] [258] [57]} ≈
• Little Fauss and Big Halsy (1970) ^[8]
• Love Story (1970) ^{[10] [430] [225]}
• Loving (1970) ^{[207] [72] [290]}
• The Magic Garden of Stanley Sweetheart (1970) ^[589]
• Maidstone (1970) ^{[201] [200]}
• M*A*S*H (1970) ^[605] ≈
• Move (1970) ^[566]
• On a Clear Day You Can See Forever (1970) ^[606]
• The Owl and the Pussycat (1970) ^{[589] [149]}
• Patton (1970) ^{[261] [290] [57]} ≈
• The People Next Door (1970) ^{[607] [608] [609]}
• Puzzle of a Downfall Child (1970) ^{[59] [174] [207]}
• The Revolutionary (1970) ^{[579] [609] [258]}
• R.P.M. (1970) ^{[8] [3]}
• Soldier Blue (1970) ^{[610] [611]}
• Something for Everyone (1970) ^[612]
• Start the Revolution Without Me (1970) ^[613]
• The Strawberry Statement (1970) ^{[515] [261] [3]}
• The Student Nurses (1970) ^[277]
• Tell Me That You Love Me, Junie Moon (1970) ^[614]
• ...tick...tick...tick... (1970) ^[592]
• The Traveling Executioner (1970) ^{[615] [616]}
• Two Mules for Sister Sara (1970) ^[353]
• Wanda (1970) ^[618] ≈
• Watermelon Man (1970) ^[257]
• Where's Poppa? (1970) ^{[72] [589]}
• Woodstock (1970) ^{[430] [619] [2]} ≈
• WUSA (1970) ^[620]
• Zabriskie Point (1970) ^[621]
• $ (1971) ^[622]
• The American Dreamer (1971) ^[623]
• The Anderson Tapes (1971) ^{[72] [73] [68]}
• The Andromeda Strain (1971) ^[624]
• Bananas (1971) ^{[273] [149]}
• Been Down So Long It Looks Like Up to Me (1971) ^[8]
• The Beguiled (1971) ^[161]
• Billy Jack (1971) ^[286]
• Born to Win (1971) ^[626]
• Carnal Knowledge (1971) ^{[627] [129] [338]}
• The Christian Licorice Store (1971) ^[628]
• A Clockwork Orange (1971) ^[629] ≈
• Desperate Characters (1971) ^[630]
• Dirty Harry (1971) ^[632] ≈
• Doc (1971) ^{[633] [368]}
• Drive, He Said (1971) ^{[479] [157] [595]}
• Duel (1971) ^{[268] [30]}
• Dusty and Sweets McGee (1971) ^[177]
• Fiddler on the Roof (1971) ^[515]
• The French Connection (1971) ^[634] ≈
• Glen and Randa (1971) ^{[258] [2]}
• Growing Up Female (1971) ^[277] ≈
• Harold and Maude (1971) ^[635] ≈
• The Hired Hand (1971) ^{[152] [8]}
• The Hospital (1971) ^[636] ≈
• The Hunting Party (1971) ^[637]
• Jennifer on My Mind (1971) ^[638]
• Johnny Got His Gun (1971) ^{[129] [639]}
• Klute (1971) ^[641]
• The Last Movie (1971) ^[642]
• The Last Picture Show (1971) ^[643] ≈
• The Last Run (1971) ^[215]
• Let's Scare Jessica to Death (1971) ^[644]
• Little Murders (1971) ^[573]
• McCabe & Mrs. Miller (1971) ^{[377] [519] [159] [244] [57]} ≈
• Minnie and Moskowitz (1971) ^[261]
• A New Leaf (1971) ^[645] ≈
• The Panic in Needle Park (1971) ^[647]
• Play Misty for Me (1971) ^[270]
• Pretty Maids All in a Row (1971) ^{[648] [649]}
• Punishment Park (1971) ^{[359] [360]}
• A Safe Place (1971) ^{[479] [5] [588]}
• Shaft (1971) ^{[72] [159] [66]} ≈
• Sometimes a Great Notion (1971) ^{[650] [651]}
• The Sporting Club (1971) ^[652]
• Straw Dogs (1971) ^{[515] [261] [338]}
• Such Good Friends (1971) ^{[235] [72]}
• Summer of '42 (1971) ^[653]
• Sweet Sweetback's Baadasssss Song (1971) ^[654] ≈
• Taking Off (1971) ^{[60] [30] [72] [191] [290]}
• The Telephone Book (1971) ^[655]
• They Might Be Giants (1971) ^[72]
• THX 1138 (1971) ^[656]
• The Touch (1971) ^[566]
• Two-Lane Blacktop (1971) ^[658] ≈
• Vanishing Point (1971) ^{[30] [8] [657]}
• Welcome Home, Soldier Boys (1971) ^{[659] [660]}
• What's the Matter with Helen? (1971) ^[661]
• Who Is Harry Kellerman and Why Is He Saying Those Terrible Things About Me? (1971) ^[662]
• Wild Rovers (1971) ^[663]
• Willy Wonka & the Chocolate Factory (1971) ^[664] ≈
• Avanti! (1972) ^[665]
• Bad Company (1972) ^{[666] [162]}
• Boxcar Bertha (1972) ^[668]
• Butterflies Are Free (1972) ^[669]
• Cabaret (1972) ^[671] ≈
• The Candidate (1972) ^{[129] [261] [672] [245]}
• Child's Play (1972) ^[506]
• Cisco Pike (1972) ^{[177] [67] [657] [595]}
• Cry for Me, Billy (1972) ^[673]
• Deadhead Miles (1972) ^[674]
• Dealing: Or the Berkeley-to-Boston Forty-Brick Lost-Bag Blues (1972) ^{[579] [258]}
• Deliverance (1972) ^{[675] [551]} ≈
• The Effect of Gamma Rays on Man-in-the-Moon Marigolds (1972) ^[676]
• Everything You Always Wanted to Know About Sex* (*But Were Afraid to Ask) (1972) ^[677]
• Fat City (1972) ^[679]
• Fritz the Cat (1972) ^{[515] [235] [680] [149]}
• Get to Know Your Rabbit (1972) ^[681]
• The Getaway (1972) ^[682]
• The Godfather (1972) ^[683] ≈
• The Great Northfield, Minnesota Raid (1972) ^[313]
• The Heartbreak Kid (1972) ^[684]
• Hickey & Boggs (1972) ^{[177] [67] [657]}
• The Hot Rock (1972) ^[72]
• Images (1972) ^{[580] [261] [174]}
• Jeremiah Johnson (1972) ^{[180] [245] [368]}
• Junior Bonner (1972) ^[666]
• Kansas City Bomber (1972) ^{[685] [686]}
• The King of Marvin Gardens (1972) ^[687]
• Lady Sings the Blues (1972) ^{[159] [184]}
• Last of the Red Hot Lovers (1972) ^[506]
• The Last House on the Left (1972) ^[688]
• The Life and Times of Judge Roy Bean (1972) ^[689]
• Limbo (1972) ^[583]
• The Mechanic (1972) ^[690]
• The Other (1972) ^[691]
• Pete 'n' Tillie (1972) ^[692]
• Pink Flamingos (1972) ^{[693] [694]} ≈
• Play It Again, Sam (1972) ^{[695] [286]}
• Play It as It Lays (1972) ^[207]
• Pocket Money (1972) ^[161]
• Portnoy's Complaint (1972) ^[595]
• The Poseidon Adventure (1972) ^{[10] [66]}
• The Possession of Joel Delaney (1972) ^[696]
• Prime Cut (1972) ^{[67] [207] [657] [588]}
• Silent Running (1972) ^{[697] [698]}
• Sisters (1972) ^[699]
• Slaughterhouse-Five (1972) ^{[580] [666]}
• Sounder (1972) ^{[233] [290]} ≈
• Super Fly (1972) ^{[72] [66]} ≈
• Thumb Tripping (1972) ^[700]
• Tomorrow (1972) ^[666]
• Ulzana's Raid (1972) ^[657]
• The Visitors (1972) ^[701]
• What's Up, Doc? (1972) ^{[416] [261] [159] [191]}

1973–1975

• American Graffiti (1973) ^[702] ≈
• The Baby (1973) ^[703]
• Badlands (1973) ^[705] ≈
• Bang the Drum Slowly (1973) ^{[506] [588]}
• Blume in Love (1973) ^{[216] [150] [149]}
• Breezy (1973) ^{[502] [667]}
• Charley Varrick (1973) ^{[161] [180] [290]}
• Cinderella Liberty (1973) ^[706]
• Coffy (1973) ^[657]
• Cops and Robbers (1973) ^[368]
• Dillinger (1973) ^{[416] [129]}
• Electra Glide in Blue (1973) ^[709]
• Emperor of the North Pole (1973) ^{[241] [242] [710]}
• Enter the Dragon (1973) ^[664] ≈
• The Exorcist (1973) ^{[360] [10] [571] [158]} ≈
• The Friends of Eddie Coyle (1973) ^{[129] [261] [368]}
• Heavy Traffic (1973) ^{[265] [149]}
• High Plains Drifter (1973) ^{[711] [712] [713]}
• Kid Blue (1973) ^[714]
• The Last American Hero (1973) ^[161]
• The Last Detail (1973) ^[716]
• The Last of Sheila (1973) ^[717]
• The Laughing Policeman (1973) ^{[718] [368]}
• The Long Goodbye (1973) ^[720] ≈
• Love and Pain and the Whole Damn Thing (1973) ^[721]
• The MacKintosh Man (1973) ^[631]
• Magnum Force (1973) ^{[722] [66] [368]}
• Mean Streets (1973) ^[723] ≈
• Messiah of Evil (1973) ^{[724] [425]}
• The Outfit (1973) ^{[551] [725]}
• The Paper Chase (1973) ^{[726] [727]}
• Paper Moon (1973) ^[729]
• Papillon (1973) ^[730]
• Pat Garrett and Billy the Kid (1973) ^{[731] [732] [402] [368]}
• Payday (1973) ^{[573] [177] [733]}
• Save the Tiger (1973) ^{[129] [631]}
• Scarecrow (1973) ^{[297] [149]}
• Serpico (1973) ^[735]
• The Seven-Ups (1973) ^{[736] [66] [368]}
• Sleeper (1973) ^{[270] [571]}
• Slither (1973) ^[737]
• Soylent Green (1973) ^{[738] [368]}
• Steelyard Blues (1973) ^[739]
• The Sting (1973) ^[741] ≈
• Terminal Island (1973) ^[277]
• Walking Tall (1973) ^{[66] [368]}
• The Way We Were (1973) ^{[233] [225] [149]}
• Westworld (1973) ^[288]
• White Lightning (1973) ^[368]
• Alice Doesn't Live Here Anymore (1974) ^[743]
• Blazing Saddles (1974) ^[745] ≈
• Buster and Billie (1974) ^[746]
• Busting (1974) ^{[308] [368] [566]}
• Bring Me the Head of Alfredo Garcia (1974) ^[747]
• Caged Heat (1974) ^[3]
• California Split (1974) ^[749]
• Chinatown (1974) ^[751] ≈
• Claudine (1974) ^{[166] [266]}
• Cockfighter (1974) ^[752]
• The Conversation (1974) ^[753] ≈
• Daisy Miller (1974) ^[162]
• Dark Star (1974) ^{[416] [377] [667] [3]}
• Death Wish (1974) ^[754]
• The Dion Brothers (1974) ^[588]
• Dirty Mary, Crazy Larry (1974) ^{[755] [756]}
• Earthquake (1974) ^{[744] [66] [368]}
• Female Trouble (1974) ^[744]
• Foxy Brown (1974) ^{[67] [657]}
• Freebie and the Bean (1974) ^{[757] [66] [368]}
• The Gambler (1974) ^{[162] [758]}
• Ganja & Hess (1974) ^[744] ≈
• The Godfather Part II (1974) ^[759] ≈
• The Great Gatsby (1974) ^{[760] [744] [595]}
• Harry and Tonto (1974) ^[268]
• Hearts and Minds (1974) ^{[297] [761] [5]} ≈
• Law and Disorder (1974) ^[542]
• Lenny (1974) ^[762]
• The Longest Yard (1974) ^[66]
• The Lords of Flatbush (1974) ^[763]
• Lovin' Molly (1974) ^[764]
• Luther (1974) ^[616]
• Macon County Line (1974) ^[765]
• Man on a Swing (1974) ^[766]
• The Nickel Ride (1974) ^[767]
• The Parallax View (1974) ^[768]
• Phantom of the Paradise (1974) ^{[238] [744]}
• Shanks (1974) ^[506]
• The Sugarland Express (1974) ^[769]
• The Super Cops (1974) ^[368]
• The Taking of Pelham One Two Three (1974) ^{[72] [368]}
• The Texas Chain Saw Massacre (1974) ^{[297] [158] [744]} ≈
• Thieves Like Us (1974) ^[770]
• Thunderbolt and Lightfoot (1974) ^{[261] [180] [66]}
• The Towering Inferno (1974) ^[771]
• Uptown Saturday Night (1974) ^[173] ≈
• The White Dawn (1974) ^[772]
• Who? (1974) ^[566]
• A Woman Under the Influence (1974) ^[773] ≈
• The Yakuza (1974) ^{[30] [368]}
• Young Frankenstein (1974) ^{[270] [185] [744]} ≈
• Zardoz (1974) ^[744]
• 92 in the Shade (1975) ^[774]
• Aloha, Bobby and Rose (1975) ^{[67] [657]}
• At Long Last Love (1975) ^{[775] [61]}
• Barry Lyndon (1975) ^{[776] [377] [338]}
• Cooley High (1975) ^[708] ≈
• Coonskin (1975) ^[149]
• The Day of the Locust (1975) ^[778]
• Dog Day Afternoon (1975) ^[780] ≈
• The Drowning Pool (1975) ^[781]
• The Eiger Sanction (1975) ^[270]
• French Connection II (1975) ^[782]
• Funny Lady (1975) ^[149]
• The Great Waldo Pepper (1975) ^[783]
• Hard Times (1975) ^{[241] [242] [67] [657]}
• Hester Street (1975) ^{[98] [324] [261] [159] [277]} ≈
• Jaws (1975) ^[785] ≈
• The Killer Elite (1975) ^{[786] [368]}
• Loose Ends (1975) ^[177]
• Love and Death (1975) ^[149]
• Milestones (1975) ^[787]
• Nashville (1975) ^[788] ≈
• Night Moves (1975) ^[790]
• One Flew Over the Cuckoo's Nest (1975) ^{[10] [519] [66]} ≈
• The Prisoner of Second Avenue (1975) ^[791]
• Rafferty and the Gold Dust Twins (1975) ^[666]
• Rancho Deluxe (1975) ^{[792] [793]}
• Report to the Commissioner (1975) ^[368]
• Rollerball (1975) ^[368]
• Shampoo (1975) ^[795]
• Smile (1975) ^{[341] [268]}
• The Stepford Wives (1975) ^[368]
• The Sunshine Boys (1975) ^[173]
• Three Days of the Condor (1975) ^[797]
• The Wind and the Lion (1975) ^{[416] [798]}

1976–1979

• All the President's Men (1976) ^[801] ≈
• Assault on Precinct 13 (1976) ^{[283] [46] [3] [800]}
• The Bad News Bears (1976) ^{[800] [290]}
• Bound for Glory (1976) ^{[241] [242] [129] [3]}
• Buffalo Bill and the Indians (1976) ^{[802] [153] [129] [803]}
• Car Wash (1976) ^{[711] [804]}
• Carrie (1976) ^[806] ≈
• Family Plot (1976) ^{[807] [595]}
• The Front (1976) ^[808]
• Futureworld (1976) ^[288]
• God Told Me To (1976) ^[283]
• Harlan County, USA (1976) ^{[324] [277]} ≈
• The Killer Inside Me (1976) ^[616]
• The Killing of a Chinese Bookie (1976) ^{[377] [180]}
• The Last Tycoon (1976) ^{[241] [242] [800]}
• Leadbelly (1976) ^{[162] [708]}
• Logan's Run (1976) ^{[368] [800]}
• Marathon Man (1976) ^[809]
• Mikey and Nicky (1976) ^{[257] [324] [177] [149] [277]}
• The Missouri Breaks (1976) ^[810]
• Mother, Jugs and Speed (1976) ^[173]
• Network (1976) ^[812] ≈
• Next Stop, Greenwich Village (1976) ^{[235] [268] [149]}
• Nickelodeon (1976) ^[813]
• Not a Pretty Picture (1976) ^[324]
• Obsession (1976) ^[815]
• The Omen (1976) ^{[816] [147] [292] [800]}
• The Outlaw Josey Wales (1976) ^{[270] [800]} ≈
• Rocky (1976) ^[817] ≈
• The Shootist (1976) ^[800]
• Silver Streak (1976) ^[66]
• A Star Is Born (1976) ^[173]
• Stay Hungry (1976) ^{[818] [588]}
• Taxi Driver (1976) ^[820] ≈
• Tracks (1976) ^[821]
• Underground (1976) ^[787]
• Voyage of the Damned (1976) ^[822]
• Welcome to L.A. (1976) ^[261]
• 3 Women (1977) ^{[580] [377] [261] [338]}
• Alambrista! (1977) ^[823] ≈
• Annie Hall (1977) ^[825] ≈
• Between the Lines (1977) ^{[826] [708]}
• Black Sunday (1977) ^[827]
• Bobby Deerfield (1977) ^[828]
• Close Encounters of the Third Kind (1977) ^[829] ≈
• Equus (1977) ^[483]
• Eraserhead (1977) ^{[416] [519] [185]} ≈
• Exorcist II: The Heretic (1977) ^[830]
• Fun with Dick and Jane (1977) ^[314]
• The Gauntlet (1977) ^[270]
• The Goodbye Girl (1977) ^{[831] [173]}
• Handle with Care (1977) ^{[235] [162] [67] [657] [290]}
• Heroes (1977) ^[832]
• High Anxiety (1977) ^{[270] [483]}
• The Hills Have Eyes (1977) ^{[833] [185]}
• Islands in the Stream (1977) ^[314]
• Joyride (1977) ^[506]
• Julia (1977) ^[173]
• The Kentucky Fried Movie (1977) ^[364]
• The Late Show (1977) ^{[719] [30]}
• Looking for Mr. Goodbar (1977) ^[834]
• Martin (1977) ^{[835] [836]}
• New York, New York (1977) ^[838]
• Opening Night (1977) ^{[261] [180]}
• The Private Files of J. Edgar Hoover (1977) ^[177]
• Rolling Thunder (1977) ^{[839] [819]}
• Saturday Night Fever (1977) ^[840] ≈
• The Sentinel (1977) ^{[360] [583]}
• Slap Shot (1977) ^{[711] [841] [842] [783]}
• Sorcerer (1977) ^[844]
• Smokey and the Bandit (1977) ^[331]
• Star Wars (1977) ^[845] ≈
• The Turning Point (1977) ^{[346] [173]}
• Twilight's Last Gleaming (1977) ^[368]
• Which Way Is Up? (1977) ^[583]
• Wizards (1977) ^[149]
• American Hot Wax (1978) ^{[67] [657]}
• The Big Fix (1978) ^{[150] [711]}
• Big Wednesday (1978) ^{[846] [847] [848] [247]}
• Blue Collar (1978) ^[849]
• The Brink's Job (1978) ^{[850] [851]}
• The Buddy Holly Story (1978) ^[852]
• California Suite (1978) ^[173]
• Capricorn One (1978) ^[307]
• Coma (1978) ^[288]
• Comes a Horseman (1978) ^{[853] [837]}
• Coming Home (1978) ^{[129] [261] [30] [173]}
• Convoy (1978) ^{[30] [854]}
• Corvette Summer (1978) ^[855]
• Dawn of the Dead (1978) ^[283]
• Days of Heaven (1978) ^[856] ≈
• The Deer Hunter (1978) ^[857] ≈
• The Driver (1978) ^{[858] [368]}
• Eyes of Laura Mars (1978) ^{[72] [67] [657]}
• Fingers (1978) ^{[358] [859]}
• Foul Play (1978) ^[173]
• The Fury (1978) ^{[860] [805]}
• Girlfriends (1978) ^{[98] [324] [59] [277] [708]} ≈
• Goin' South (1978) ^[506]
• Grease (1978) ^{[784] [233] [147] [245] [197]} ≈
• Halloween (1978) ^[861] ≈
• Heaven Can Wait (1978) ^{[162] [191] [173]}
• Interiors (1978) ^{[580] [72]}
• Invasion of the Body Snatchers (1978) ^{[377] [64] [862]}
• Killer of Sheep (1978) ^[177] ≈
• The Last Waltz (1978) ^{[76] [290]} ≈
• The Lord of the Rings (1978) ^[149]
• Midnight Express (1978) ^[180]
• National Lampoon's Animal House (1978) ^[863] ≈
• Paradise Alley (1978) ^{[864] [819]}
• Sgt. Pepper's Lonely Hearts Club Band (1978) ^[197]
• Straight Time (1978) ^{[502] [667] [129]}
• Superman (1978) ^{[292] [14] [173]} ≈
• An Unmarried Woman (1978) ^{[268] [72] [173] [290]}
• A Wedding (1978) ^[865]
• Who'll Stop the Rain (1978) ^{[283] [30]}
• The Wiz (1978) ^{[73] [72] [483]}
• 10 (1979) ^[290]
• 1941 (1979) ^[868]
• Alien (1979) ^[869] ≈
• All That Jazz (1979) ^{[870] [261] [273]} ≈
• An Almost Perfect Affair (1979) ^[871]
• ...And Justice for All. (1979) ^{[872] [873] [604] [180]}
• Apocalypse Now (1979) ^{[874] [875]} ≈
• Being There (1979) ^{[129] [261] [483]} ≈
• Breaking Away (1979) ^{[225] [290]}
• Bush Mama (1979) ^[177] ≈
• Chilly Scenes of Winter (1979) ^{[324] [261] [277]}
• The China Syndrome (1979) ^[876]
• Escape from Alcatraz (1979) ^{[368] [819] [290]}
• The Great Santini (1979) ^[877]
• Going in Style (1979) ^[878]
• Hair (1979) ^[290]
• Hardcore (1979) ^{[377] [518] [129] [819]}
• The In-Laws (1979) ^[879]
• Killing Time (1979) ^[277]
• Kramer vs. Kramer (1979) ^[880]
• Last Embrace (1979) ^[506]
• Manhattan (1979) ^{[268] [72] [273]} ≈
• More American Graffiti (1979) ^[881]
• Norma Rae (1979) ^{[261] [30] [173]} ≈
• North Dallas Forty (1979) ^[882]
• Old Boyfriends (1979) ^{[883] [884]}
• The Onion Field (1979) ^{[368] [588]}
• Over the Edge (1979) ^[177]
• Promises in the Dark (1979) ^[885]
• Quintet (1979) ^[886]
• Real Life (1979) ^{[162] [887]}
• The Rose (1979) ^[888]
• Saint Jack (1979) ^[889]
• The Seduction of Joe Tynan (1979) ^[890]
• Starting Over (1979) ^{[891] [173]}
• The Wanderers (1979) ^[892]
• The Warriors (1979) ^{[30] [73] [231]}
• Winter Kills (1979) ^{[893] [657] [68]}
• Wise Blood (1979) ^[268]

1980s

• 9 to 5 (1980) ^[173]
• Airplane! (1980) ^{[270] [363] [173] [364]} ≈
• American Gigolo (1980) ^{[377] [261] [173] [245]}
• Any Which Way You Can (1980) ^[173]
• The Blue Lagoon (1980) ^[245]
• The Blues Brothers (1980) ^[245] ≈
• Bronco Billy (1980) ^[270]
• Brubaker (1980) ^{[30] [173]}
• Can't Stop the Music (1980) ^[197]
• Coal Miner's Daughter (1980) ^{[180] [254]} ≈
• Cruising (1980) ^[895]
• Dressed to Kill (1980) ^{[784] [30] [72] [805]}
• The Elephant Man (1980) ^[245]
• The Empire Strikes Back (1980) ^[898] ≈
• Gloria (1980) ^{[30] [72] [191]}
• HealtH (1980) ^[899]
• Heaven's Gate (1980) ^[903]
• The Long Riders (1980) ^{[904] [290]}
• Melvin (and Howard) (1980) ^{[416] [268] [290]}
• Night of the Juggler (1980) ^[905]
• The Ninth Configuration (1980) ^{[906] [616]}
• One-Trick Pony (1980) ^[907]
• Ordinary People (1980) ^{[453] [173] [245]}
• Out of the Blue (1980) ^[908]
• Popeye (1980) ^{[118] [803] [408] [245]}
• Raging Bull (1980) ^[909] ≈
• Second-Hand Hearts (1980) ^[910]
• The Shining (1980) ^[911] ≈
• Stardust Memories (1980) ^{[912] [268] [129]}
• Stir Crazy (1980) ^[245]
• The Stunt Man (1980) ^{[913] [914]}
• Urban Cowboy (1980) ^[30]
• Willie & Phil (1980) ^{[2] [149]}
• Windows (1980) ^[915]
• Xanadu (1980) ^[197]
• All Night Long (1981) ^{[245] [173]}
• Arthur (1981) ^[916]
• Blow Out (1981) ^[917]
• Body Heat (1981) ^[918]
• The Cannonball Run (1981) ^[245]
• Cutter's Way (1981) ^{[268] [30]}
• Escape from New York (1981) ^{[72] [247]}
• The Funhouse (1981) ^[819]
• The Howling (1981) ^[919]
• Pennies from Heaven (1981) ^{[206] [867] [837]}
• The Postman Always Rings Twice (1981) ^{[3] [918]}
• Prince of the City (1981) ^{[920] [368]}
• Raiders of the Lost Ark (1981) ^[922] ≈
• Reds (1981) ^{[794] [268] [245]}
• Southern Comfort (1981) ^{[923] [290]}
• They All Laughed (1981) ^[268]
• Thief (1981) ^{[164] [897]}
• Wolfen (1981) ^[924]
• Annie (1982) ^[245]
• The Best Little Whorehouse in Texas (1982) ^[197]
• Blade Runner (1982) ^{[925] [377] [483]} ≈
• The Border (1982) ^[926]
• Cat People (1982) ^{[261] [918]}
• Come Back to the 5 & Dime, Jimmy Dean, Jimmy Dean (1982) ^[595]
• E.T. the Extra-Terrestrial (1982) ^{[921] [63] [897] [483] [524]} ≈
• First Blood (1982) ^[147]
• The King of Comedy (1982) ^[929]
• Lookin' to Get Out (1982) ^[180]
• Losing Ground (1982) ^[324] ≈
• A Midsummer Night's Sex Comedy (1982) ^[930]
• An Officer and a Gentlemen (1982) ^[173]
• One from the Heart (1982) ^[933]
• Personal Best (1982) ^[934]
• Poltergeist (1982) ^{[935] [483]}
• The Thing (1982) ^{[158] [897]}
• The Big Chill (1983) ^[936]
• Blue Thunder (1983) ^[264]
• Misunderstood (1983) ^[150]
• The Outsiders (1983) ^[30]
• Return of the Jedi (1983) ^[896] ≈
• Rumble Fish (1983) ^{[377] [30] [284]}
• Scarface (1983) ^[805]
• Star 80 (1983) ^[261]
• Twilight Zone: The Movie (1983) ^{[126] [185] [125]}
• Yentl (1983) ^[173]
• Blood Simple (1984) ^[164]
• Body Double (1984) ^{[164] [805]}
• Gremlins (1984) ^[664]
• Paris, Texas (1984) ^[222]
• Top Secret! (1984) ^[364]
• After Hours (1985) ^[247]
• The Goonies (1985) ^[664] ≈
• Trouble in Mind (1985) ^[937]
• The Fly (1986) ^[247]
• The Lost Boys (1987) ^[664]
• The Naked Gun: From the Files of Police Squad! (1988) ^[364]

Notes

• ≈ Indicates a National Film Registry inductee

See also

• Film portal
• 1960s portal
• 1970s portal
• 1980s portal
• United States portal

• List of New Wave movements
• Counterculture of the 1960s
• A Decade Under the Influence – the 2003 documentary about the New Hollywood
• Easy Riders, Raging Bulls – Peter Biskind's controversial account of this era of filmmaking
• Z Channel: A Magnificent Obsession – 2004 documentary about the troubled life of programmer Jerry Harvey and his California-based movie channel that aired director's cut editions of films such as The Wild Bunch and Heaven's Gate
• Exploitation film – popular during that time
• Vulgar auteurism
• Modernist film
• L.A. Rebellion – alternative African-American cinema in the 1970s–1980s
• Midnight movie – popular during this era
• Hippie exploitation films
• Blaxploitation

References

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2. Rosenbaum, Jonathan (January 16, 2025). "'New Hollywood' and the '60s Melting Pot". JonathanRosenbaum.net. Retrieved September 7, 2025.
3. "Film History of the 1970s". www.filmsite.org.
4. Francis Ford Coppola: 'Apocalypse Now is not an anti-war film'|The Guardian
5. Hendershot, Heather (May 11, 2011). "Losers Take All: On the New American Cinema". The Nation. Archived from the original on July 20, 2018. Retrieved July 21, 2018.
6. The New Hollywood – Sag Harbor Cinema
7. "50 best movies from the 1970s". Stacker.
8. Godfrey, Nicholas (May 10, 2018). "The Limits of Auteurism: Case Studies in the Critically Constructed New Hollywood". Rutgers University . Rutgers University Press. doi: 10.36019/9780813589176-fm . ISBN   9780813589152. LCCN   2017015405 . Retrieved August 22, 2025– via De Gruyter–Brill.
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10. Krämer 2005, p. 8.
11. The Top 10 Underrated Movies ... and 10 Classics We'd Like to Forget – LAmag
12. Hollywood's wildest ever thriller? – BBC
13. How One Movie Killed The 1980s – Patrick (H) Willems on YouTube
14. The Death of the All-Powerful Director - The Ringer
15. Bogdanovich, Peter. "Peter Bogdanovich Chapter 2".
16. A Sharper Picture: Revisiting Anthology Drama|wcftr.commarts.wisc.edu
17. The Tele-Playwrights|wcftr.commarts.wisc.edu/
18. DVD Savant Review: The Golden Age of Television – DVD Talk
19. Film in the Television Age – Annenberg Learner
20. The Most Influential Classic Shows from TV's 'Golden Age'|HISTORY
21. "Playhouse 90 and the End of the Golden Age|wcftr.commarts.wisc.edu". Archived from the original on May 22, 2022. Retrieved December 30, 2023.
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30. New Hollywood – Der Amerikanische Film Nach 1968 (The American Film After 1968) – Google Books
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32. Watch: How New Hollywood Created the American Indie – No Film School
33. Ingmar Bergman preferred New Hollywood to the French New Wave|Far Out Magazine
34. Belton (1993) , p. 290
35. Bob Rafelson, New Hollywood era director, dies at 89| AP News
36. David A Cook, "Auteur Cinema and the film generation in 70s Hollywood", in The New American Cinema by Jon Lewis (ed), Duke University Press, New York, 1998, pp. 1–4
37. "Arthur Penn's 'Bonnie and Clyde': A New Style of Film – TIME". April 21, 2011. Archived from the original on April 21, 2011.
38. Schatz (1993) , pp. 14–16
39. Roger Corman: "Hectic, Maddening, but Fun"|Current|The Criterion Collection
40. Stephanie Rothman, Pioneering Female Director in 1970s Hollywood, Revisited - Air Mail
41. Bikers, Outlaws, and Mobsters: A Brief History of New Hollywood|TheCollector
42. Night Tide - Variety
43. Review: Curtis Harrington's Night Tide on Kino Lorber Blu-ray - Slant Magazine
44. From the Arthouse to the Grindhouse – Google Books (pg.192)
45. Patterson, John (January 6, 2016). "Vilmos Zsigmond: the cinematographer who transformed how films look". The Guardian. London, United Kingdom. Retrieved November 1, 2018.
46. New Hollywood: Movies, Directors, and Influences of the Era|Backstage
47. 'Red Dawn' Ushered in the PG-13 Era in 1984 – The Hollywood Reporter
48. Schatz (1993)
49. "AFI Silver Theatre and Cultural Center". www.afi.com.
50. "Estelle Parsons winning Best Supporting Actress". March 29, 2011 – via www.youtube.com.
51. "Burnett Guffey winning the Oscar® for Cinematography for "Bonnie and Clyde"". November 7, 2013 – via www.youtube.com.
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55. Pauline Kael, "Bonnie and Clyde" in, Pauline Kael, For Keeps (Plume, New York, 1994) pp. 141–57. Originally published in The New Yorker, October 21, 1967
56. Biskind (1998)
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58. Berliner (2010) , pp. 51–52
59. The Film Comment Podcast: Women in New Hollywood
60. How New Hollywood Spirit Lives in 'Armageddon Time,' 'The Inspection' and 'Vengeance' – Variety
61. June 1977: When New Hollywood Got Weird – The Film Stage
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436. Johnny Mandel Dead: Composer Who Wrote 'MASH' Theme Song Was 94 – Variety
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555. FROM THE ARCHIVES: The Legend of Lylah Clare – Cineaste Magazine ("Enter the new freedom of New Hollywood. There’s a lesbian on the premises. Rossella Forte (Rossella Falk), who was Lylah’s lover—along with many other men and women—is a pathetic attempt to open a discussion about the sexual complexities of Hollywood. If Rossella’s orientation is treated more directly than was previously permitted, the film is suffused by the homophobia of Old Hollywood. Rossella is not much more than a creepy threat to Elsa, for whom she becomes as hot as she was for Lylah, especially after Zarken bleaches the young actress’s hair Lylah’s shade of platinum, styles it as Lylah wore it, and dresses her in Lylah’s old gowns.")
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604. Hogan, Sean (September 26, 2023). "Pacino Picks: 5 underrated Al Pacino films". Arrow Films . Retrieved August 22, 2025. One of the prevailing trends of the New Hollywood cinema was a series of films that set out to satirise the systemic failures of America's great institutions: the military in M.A.S.H. (1970), the health service in The Hospital (1971), and the media in Network (1976). Following on their heels, Norman Jewison's ...And Justice for All aimed to do much the same for the American criminal justice system.
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613. Alves, Cláudio (July 14, 2022). "Happy Bastille Day!". The Film Experience. Retrieved September 14, 2025.
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623. The American Dreamer (1971) – Flickchart
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631. Who Knew It Could Be Worse?: When Nixon Haunted the New Hollywood – Cineaste Magazine
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639. Butcher, Terrence (May 17, 2009). "Johnny Got His Gun". PopMatters . OCLC   1122752384 . Retrieved August 20, 2025. Johnny Got His Gun is not merely a touchstone work of the now-mythologized 'New Hollywood' era, when a few lunatics took over the Tinsel Town asylum, but a rare instance of a celebrated author adapting his own book to film … and over three decades later!
640. Kirshner 2012, p. 94.
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691. Brayton, Tim (April 1, 2020). "The Other (1972) - Movie Review: The bad seeds". Alternate Ending. Retrieved August 29, 2025. In some ways, it feels like one of the several Depression-era dramas scattered across the New Hollywood Cinema,
692. "Pete 'n' Tillie (1972)". The Postmodern Pelican. June 18, 2021. Retrieved September 12, 2025.
693. Crabtree, Benjamin (July 1, 2022). "Why John Waters's Pink Flamingos Continues to Shock and Delight". Collider . Retrieved August 27, 2025. While normative international audiences scoffed and even banned the film on its initial release, the sociocultural importance of Waters's message of self-acceptance and queer expression has empowered Pink Flamingos to transcend the trappings of its trash aesthetics to become a necessary artifact of the New Hollywood.
694. Gibson, Elena; Ludwig, Sam (June 1, 2024). "Trailer Trash Triumphant: Pink Flamingos (1972)" . Kael Your Idols: A New Hollywood Podcast (Podcast). 118 minutes in. Retrieved August 28, 2025.
695. "Film Review: Play It Again, Sam (1972)". Waivio. April 5, 2025. Retrieved August 23, 2025. Here, Allen's trademark wit collides with Bogart's mythic stoicism, creating a dialogue between old Hollywood glamour and New Hollywood introspection.
696. Haskell, Christopher (February 1, 2025). "Vinegar Syndrome: February 2025". No Bad Movie. Retrieved September 5, 2025.
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712. "High Plains Drifter (1973)". The Postmodern Pelican. January 20, 2024. Retrieved September 10, 2025.
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715. Gleiberman, Owen (January 31, 2018). "Film Review: 'Hal'".
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718. "The Laughing Policeman (1973)". Flickchart. Retrieved August 26, 2025.
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725. "The Outfit (1973)". Flickchart . Retrieved September 12, 2025.
726. New Beverly Cinema [@newbeverly] (November 16, 2021). "Timothy Bottoms stars as a first-year Harvard Law School student in James Bridges's detailed New Hollywood dramedy THE PAPER CHASE (1973), screening from a beautiful archival 35mm print tonight & tomorrow, Tuesday/Wednesday, Nov 16 & 17, at 7:30pm. Tickets: https://buff.ly/3xXcQDx" (Tweet). Retrieved 2025-08-22– via Twitter.
727. The Paper Chase (1973) – Flickchart
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738. "Soylent Green (1973)". The Postmodern Pelican. March 25, 2022. Retrieved August 29, 2025. Soylent Green is one of the most notable science fiction films produced under the New Hollywood movement,
739. "Steelyard Blues (1973)". Flickchart. Retrieved August 26, 2025.
740. 10 Best Films Of The American New Wave, According To IMDb - Screen Rant
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756. Pearce, Scott (December 1, 2023). "The Car Chase as Allegory for the Loss of the American Dream: The Case of Dirty Mary, Crazy Larry". Rides of Insight. doi:10.15291/sic/1.14.lc.5 – via SIC Journal of Literature, Culture, and Literary Translation.
757. Sub-Cult 2.0 # 10 Freebie and the Bean (1974) — Nathan Rabin's Happy Place
758. Mark Wahlberg’s Tense Remake of a New Hollywood Classic Just Found a New Streaming Home|Collider
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777. Symmons, Tom (2016). The 'New Wave' and 'Old Hollywood': The Day of the Locust (1975), 'Movies About the Movies' and the Generational Divide. pp. 21–56. doi:10.1057/978-1-137-52930-5_2. ISBN   978-1-137-52929-9.
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782. "French Connection II (1975)". Flickchart . Retrieved August 26, 2025.
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814. "Obsession (1976)". Flickchart . Retrieved August 26, 2025.
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823. Alambrista! (1977) – Flickchart
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832. Gaughan, Liam (July 2, 2023). "Harrison Ford's Wild Roles Before Han Solo and Indiana Jones". Collider . Retrieved September 10, 2025.
833. Shail, Robert (July 25, 2019). Seventies British Cinema. United Kingdom: Bloomsbury Publishing. p. 33. ISBN   9781838718060.
834. Nordine, Michael (April 11, 2017). "New Hollywood: 50 Movies That Reshaped the Film Industry: Looking for Mr. Goodbar (1977)". IndieWire . Retrieved March 12, 2018.
835. Rabin, Nathan (September 27, 2023). "The Joy of Positivity: Martin (1977)" . Nathan Rabin's Bad Ideas. Retrieved August 29, 2025.
836. De Vaulx, Jean-Baptiste (March 20, 2016). "Martin (George A. Romero, 1977)". Cine-Scope. Retrieved August 29, 2025. George Romero remains best known for single-handedly inventing the modern zombie genre, but this underrated, New Hollywood-era, teenage-angst movie with a serious twist saw him try his hand at a vampire film.
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852. Phipps, Keith (June 27, 2022). "The Least Historically Accurate Music Biopics Ever Made". Vulture . Archived from the original on August 15, 2015. Retrieved September 12, 2025. That's not that far off from most accounts of the real-life Holly, even if there's more than a touch of Old Hollywood sanitization to this New Hollywood–era film.
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871. Furtado, Felipe (May 24, 2016). "An Almost Perfect Affair". Letterboxd. Retrieved September 14, 2025.
872. Morganti, Ben (March 22, 2025). "This 46-Year-Old Al Pacino Movie Is The Most Underrated Courtroom Drama of All Time". Comic Book Resources (CBR) . Retrieved August 22, 2025. Between Pacino's performance and Jewison's direction, And Justice for All is one of those rare New Hollywood-era gems that gets overlooked.
873. "Silver Screen Streak List #19: 02. ...And Justice For All. (1979)". Media Life Crisis. September 9, 2021. Retrieved August 22, 2025. Norman Jewison's And Justice for All (1979) is from the same, frustrated, cynical mold, and goes through its chaotic paces with an excellent New Hollywood cast that helps it bridge its more awkward melodramas.
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885. Shanfeld, Ethan (May 28, 2021). "Jerome Hellman, Producer of Midnight Cowboy and Coming Home, Dies at 92". Variety . ISSN   0042-2738. OCLC   60626328 . Retrieved September 10, 2025.
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906. Broughton, Lee (June 25, 2016). "The Ninth Configuration (Region B UK)". Trailers from Hell . Retrieved September 12, 2025.
907. Grierson, Tim (March 18, 2024). "When Paul Simon Bombed at the Movies". RogerEbert.com . Retrieved September 13, 2025. By comparison, One-Trick Pony was a more mainstream project, even if it did somewhat reflect the New Hollywood era in its lament for an outsider facing off with an unfeeling society.
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• Biskind, Peter (1998). Easy Riders, Raging Bulls: How the Sex-Drugs-And Rock 'N Roll Generation Saved Hollywood. New York: Simon & Schuster. ISBN   978-0-684-85708-4.
• Biskind, Peter (1990). The Godfather Companion: Everything You Ever Wanted to Know About All Three Godfather Films (HarperPerennial)
• Belton, John (1993). American Cinema/American Culture. New York: McGraw/Hill.
• Berliner, Todd (2010). Hollywood Incoherent: Narration in Seventies Cinema. Austin, TX: University of Texas Press.
• Cook, David A. "Auteur Cinema and the film generation in 70s Hollywood", in The New American Cinema. Ed. by Jon Lewis. NY: Duke University Press, 1998, pp. 1–37
• Harris, Mark (2008). Pictures at a Revolution: Five Movies and the Birth of the New Hollywood . New York: Penguin Press. ISBN   978-1-594-20152-3.
• Harris, Mark. Scenes from a Revolution: The Birth of the New Hollywood. Canongate Books, 2009.
• James, David E. Allegories of Cinema: American Film in the Sixties. NY: Princeton University Press, 1989, pp. 1–42
• Kael, Pauline. "Bonnie and Clyde", in For Keeps. Ed. by Pauline Kael. NY: Plume, 1994, pp. 141–57.
• Kael, Pauline. "Trash, Art, and the Movies", in Going Steady: Film Writings 1968–69. NY: Marion Boyers, 1994, pp. 87–129
• Kanfer, Stefan, "The Shock of Freedom in Films", Time Magazine, December 8, 1967, Accessed April 25, 2009,
• King, Geoff (2002). New Hollywood Cinema: An Introduction. London: I.B. Tauris. ISBN   9781860647499.
• Kirshner, Jonathan (2012). Hollywood's Last Golden Age: Politics, Society, and the Seventies Film in America. Ithaca, New York: Cornell University Press. ISBN   978-0-801-46540-6.
• Krämer, Peter (2005). The New Hollywood: From Bonnie and Clyde to Star Wars . Wallflower Press. ISBN   978-1-904764-58-8.
• Langford, Barry (2010). Post-classical Hollywood: Film Industry, Style and Ideology Since 1945. Edinburgh University Press. ISBN   978-0748638574.
• Road Trip to Nowhere: Hollywood Encounters the Counterculture, Jon Lewis, 2022
• Monaco, Paul (2001). The Sixties, 1960–69, History of American Cinema. London: University of California Press.
• Schatz, Thomas (1993). "The New Hollywood". In Jim Collins, Hilary Radner and Ava Preacher Collins (ed.). Film Theory goes to the Movies . New York: Routledge. pp.  8–37.
• Thompson, Kristin & Bordwell, David (2003). Film History: An Introduction (2nd ed.). McGraw–Hill.
• New Wave, New Hollywood: Reassessment, Recovery and Legacy, Nathan Abram and Gregory Frame, 2021

External links

• "The First Five Years of the 70s" episode of Siskel and Ebert
• The American Revolution – DGA
• "The Film School Generation" episode of American Cinema at Annenberg Learner