New Hollywood

At the end of the sixties the American studios were in crisis, the censorship code fell, and a generation trained in film schools got the keys: for about ten years studio films had unhappy endings, violent heroes and authorial ambitions. Coppola filmed a mafia family as a tragedy, Scorsese an insomniac taxi driver who takes himself for an avenger, Altman had twenty-four characters speak at once, Peckinpah slowed death down. The success of the blockbusters would close the parenthesis.

works 7

• NovelA Clockwork OrangeAnthony Burgess · 1962A teenager tells of his own nights, in a language that has to be learned as one reads him.Literature
• CinemaEasy RiderDennis Hopper · 1969Shot over the course of a motorcycle trip for less than four hundred thousand dollars, the film replaces original music with existing songs.Cinema
• CinemaThe Wild BunchSam Peckinpah · 1969The film shows its shootouts in slow motion, filmed with up to six cameras running at different speeds, from twenty-four to one hundred and twenty frames per second.Cinema
• CinemaA Clockwork OrangeStanley Kubrick · 1971Four boys in white look for something to fill the rest of the night.Cinema
• CinemaThe GodfatherFrancis Ford Coppola · 1972Adapted from a novel by Mario Puzo, co-author of the screenplay, the film follows a New York Mafia family, its alliances and its succession.Cinema
• CinemaNashvilleRobert Altman · 1975Written by Joan Tewkesbury, the film follows twenty-four main characters and records their voices on an eight-track system.Cinema
• CinemaTaxi DriverMartin Scorsese · 1976Written by Paul Schrader in less than two weeks, the film follows a lonely taxi driver through the streets of Manhattan.Cinema