Contents

pp 5-6

Part One - Introductions

pp 7-8

The Impure Cinema: New Hollywood 1967-1976

pp 9-18

”The Last Good Time We Ever Had”: Remembering the New Hollywood Cinema

pp 19-36

American Auteur Cinema: The Last – or First – Great Picture Show

pp 37-70

Part Two - Histories

pp 71-72

The Decade When Movies Mattered

pp 73-82

A Walking Contradiction (Partly Truth and Partly Fiction)

pp 83-106

The Exploitation Generation. or: How Marginal Movies Came in from the Cold

pp 107-130

New Hollywood and the Sixties Melting Pot

pp 131-152

Part Three - People and Places

pp 153-154

Dinosaurs in the Age of the Cinemobile

pp 155-164

”The Cylinders Were Whispering My Name”: The Films of Monte Hellman

pp 165-194

NASHVILLE Contra JAWS, or “The Imagination of Disaster” Revisited

pp 195-222

For WANDA

pp 223-248

Everybody Knows This Is Nowhere: The Uneasy Ride of Hollywood and Rock

pp 249-266

Auteurism and War-teurism: Terrence Malick’s War Movie

pp 267-276

Part Four - Critical Debates

pp 277-278

The Pathos of Failure: American Films in the 1970s: Notes on the Unmotivated Hero

pp 279-292

Trapped in the Affection Image: Hollywood’s Post-traumatic Cycle (1970-1976)

pp 293-308

Grim Fascination: Fingers, James Toback and 1970s American Cinema

pp 309-332

Allegories of Post-Fordism in 1970s New Hollywood: Countercultural Combat Films and Conspiracy Thrillers as Genre Recycling

pp 333-358

Bibliography

pp 359-370

List of Contributors

pp 371-374

Pictures (with credits)

pp 375-376

Index of Film Titles

pp 377-392

Film Culture in Transition General Editor: Thomas Elsaesser

pp 393-394