This work looks at the experiences of the new generation of often controversial young directors including Demme, Lee, Lynch and Stone, and is a realistic account of the film business from the film maker's point of view. It is based on in-depth interviews with over 50 directors.

The New Hollywood

Humor & Entertainment

Hillier, Jim

Movies

Cassell Illustrated*

This unique reference work is designed to bridge the gap between guides and dictionaries that are primarily academic and theoretical and those that deal mainly in technical jargon. Above all, it is aimed at students of film and media who are likely to encounter a wide range of specialist language in a variety of places--in film reviews, critical essays, interviews with filmmakers and stars, and academic and Internet publications. The Film Studies Dictionary contains around 1,000 entries ranging from terms that have always puzzled audiences such as "best boy" and "gaffer" to those required by specialist students of film such as "post-colonial theory" and "third cinema." It uses a system of careful cross-referencing and concise and up-to-date references to further reading for exploration.

The Film Studies Dictionary (Arnold Student Reference)

Grant, Barry Keith

Blandford, Steve

Hodder Education Publishers

Studies in Documentary

Lovell, Alan

Literature & Fiction

VIKING

In the turbulent sixties, the provocative French film journal Cahiers du Cinéma was at its most influential and controversial. The first successes of the New Wave by major Cahiers contributors such as Jean-Luc Godard, François Truffaut, Jacques Rivette, Eric Rohmer, and Claude Chabrol focused international attention on the revitalization of French cinema and its relation to film criticism; and in the early 1960s the journal’s laudatory critiques of popular American movies were attaining the greatest notoriety.
As the lively articles, interviews, and polemical discussions in this volume reveal, the 1960s saw the beginnings of significant new directions in filmmaking and film criticism changes in which the New Wave itself was a major factor. The auteur theory that the journal had championed in the 1950s began to be rethought and revalued. At the same time, along with a reassessment of American film, Cahiers began to embrace new, often oppositional forms of cinema and criticism, culminating in the political and aesthetic radicalism of the ensuing decade.
The selections, translated under the supervision of the British Film Institute, are annotated by Jim Hillier, and context is provided in his general introduction and part introductions. For an understanding of the important changes that took place in cinema and film criticism in the 1960s and beyond, this book is essential reading.

Cahiers du Cinéma: The 1960s (1960–1968): New Wave, New Cinema, Reevaluating Hollywood

Harvard University Press

Cahiers Du Cinema Volume I: 1950s: Neo-Realism, Hollywood, New Wave

Arts & Photography

Performing Arts

Taylor & Francis Books Ltd

The studio system, which had dominated Hollywood for more than half a century, finally fell apart in the late 1960s. The uncertainty that followed opened the way for independent producers, many of whom were already specializing in exploitation movies with titles like Slumber Party Massacre, which were targeted at the 12-to-20-year-old age group. These films, with their starvation budgets and impossible shooting schedules, gave a start to a number of notable directors. Others were meanwhile trying their luck in television or shooting experimental movies. The first post-studio directors, the so-called "movie brats" (Spielberg, Lucas, Coppola, Scorsese, and De Palma) are now famous. Behind them has come a new generation of directors, often controversial, who now make some of Hollywood's most interesting pictures. This book, based on in-depth interviews, looks at the experiences of some thirty of them in getting established and keeping afloat in the new Hollywood. Drawing upon information gathered in interviews more often than quoting directly from them, Jim Hillier has produced an absorbing account from the filmmakers' viewpoint of the business of filmmaking. Some of the new generation of directors have already had hits such as Terminator (James Cameron), The Silence of the Lambs (Jonathan Demme), Gremlins (Joe Dante), Sleeping with the Enemy (Joseph Ruben), and Look Who's Talking (Amy Heckerling). Others continue to make inexpensive horror movies. Yet others divide their time between cinema and television, among them Michael Mann, who directed Manhunter for the cinema and produced Miami Vice and Crime Story for television, and David Lynch of Blue Velvet, Wild at Heart, and Twin Peaks. Among those included are Bill Duke (A Rage in Harlem), Mike Figgis (Internal Affairs), Randa Haines (Children of a Lesser God), Tim Hunter (River's Edge), Spike Lee (Do the Right Thing), Jim McBride (The Big Easy), and Susan Seidelman (Desperately Seeking Susan). Today, the name Hollywood conjures up not simply tinseltown itself but the whole of the American film industry. The New Hollywood bears witness to the diversity and vigor still remaining in an industry that over the past twenty years has become more dispersed, less rigidly organized - and much more costly. Jim Hillier's book provides the essential background to understanding the economic and creative forces that will carry the American cinema into the 21st century.

Continuum Intl Pub Group

Howard Hawks: American Artist

1996 is the centenary of the birth of Howard Hawks, one of the great directors of American cinema. This anthology collects together writings from around the world on the director of such films as "Bringing up Baby", "The Big Sleep", "Gentlemen Prefer Blondes", and "Rio Bravo".

Biographies & Memoirs

Arts & Literature

British Film Institute

An inspiration to European film-makers and to mainstream Hollywood, US independent cinema has blossomed in the late 80s and 90s with an enormous variety of idiosyncratic and challenging cinema coming to the fore. Sight and Sound magazine has captured much of the excitement of this vital, intelligent and often quirky cinema as it happened. This book, part of a new series of Sight and Sound Readers, combines interviews with directors, features on major genres and reviews of some of the key films released derived from the pages of the magazine. The editor Jim Hillier adopts a broad definition of US indie film including material on the Coen brothers, Quentin Tarantino, Gus van Sant, Jim Jarmusch, Rose Troche, Todd Haynes, Hal Hartley and many more besides.

American Independent Cinema: A Sight and Sound Reader (BFI Sight and Sound Reader)

This work examines independent cinema as an influence on European and mainstream Hollywood, combining interviews with directors, features on major genres and reviews of some key films. It adopts a broad definition of US indie film including material on Tarantino, the Coen Brothers and Gus van Sant.

American Independent Cinema: A Sight and Sound Reader

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