David E. James, Allegories of Cinema: American Film in the Sixties, Princeton University Press, Princeton, 1989.
'the decentralization of production in
the fifties had made the studios more and more the distribution apparatus
for independently produced features which by 1967 amounted to 51.1% of
all features released.' (p.26)
Ethan Mordden, Medium Cool: The Movies of the 1960's, Alfred A. Knopf, New York, 1960.
B-films begin to turn a profit in the 1960's
and begin to become a site for experimentation because their low budgets
ensured a profit. In this way they function as much as cheap independent
films as major studio B-films. (pp.18-20)
The growth of metropolitan art house films
and the revelation of foreign films combine in this era to subdivide the
movie audience. (pp.33-34)
Brian Neve, Film and Politics in America: A Social Tradition, Routledge, London 1992.
'The mass audience had gone by the late
1950's and the object was increasingly to differentiate each film and to
appeal to a particular section of the audience...Michael Wood sees Cleopatra
(1963) as the film which showed that the myths and assumptions of studio
era film-making were out of touch with a new audience.' (p.211)
David Parkinson, History of Film, Thames and Hudson, 1995.
Hollywood 'was beset with problems more serious than any it had faced since the Depression. Despite a drop in box-office receipts to a post-war low of $900 million in 1962, the studios remained reluctant to accept the changing profile of their typical audience and, disregarding the requirements of their younger, better educated patrons persisted with the 'universal appeal' formula that had pertained since the industry's earliest days. Similarly, they resisted the techniques of the nouvelle vague for fear that the average viewer would have difficulty folloiwng such elliptical narratives...Commercially and aesthetically, therefore, Hollywood was in dire need of rejuvenation. The process began in 1967 with Bonnie and Clyde.
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