By Peter Lev, David Cook, Frances Gateward, Paula J. Massood, Lester D. Friedman, Michael DeAngelis, Mimi White, Mia Mask, Glenn Man, Frank Tomasulo, Charles Maland
A conceited look on the seventies-the so-called Me Decade-unveils a kaleidoscope of massive hair, blaring tune, and damaged politics-all effortless ambitions for satire, cynicism, and eventually even nostalgia. American Cinema of the Nineteen Seventies, notwithstanding, appears to be like past the strobe lighting fixtures to bare how profoundly the seventies have prompted American existence and the way the flicks of that decade characterize a height second in cinema heritage. faraway from a placid period, the seventies used to be a decade of social upheavals. occasions similar to the killing of scholars at Kent kingdom and Jackson kingdom universities, the Watergate investigations, the legalization of abortion, and the tip of the yankee involvement in Vietnam are just a couple of one of many landmark occurrences that challenged the rules of yank tradition. The director-driven videos of this period replicate this turmoil, experimenting with narrative constructions, delivering a gallery of scruffy antiheroes, and revising conventional style conventions. Bringing jointly ten unique essays, American Cinema of the Seventies examines the diversity of flicks that marked the last decade, together with Jaws, Rocky, Love tale, Shaft, soiled Harry, The Godfather, Deliverance, The Exorcist, Shampoo, Taxi motive force, megastar Wars, Saturday evening Fever, Kramer vs. Kramer, and Apocalypse Now. Lester D. Friedman is the Senior Scholar-in-Residence within the Media and Society application at Hobart and William Smith schools and the writer of various books on movie.
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Extra resources for American Cinema of the 1970s: Themes and Variations (Screen Decades: American Culture / American Cinema)
In Zabriskie Point, the person who at ﬁrst seems most disaffected from campus politics becomes a martyr of the student radical cause. The top box ofﬁce ﬁlm of the year also included a prominent university setting, but provided no inkling of the student unrest that was central to other ﬁlms set on college campuses. Based on a best-selling novel, Love Story recounts the romance of a WASP Harvard man from an upper-crust, old money family and the woman he meets during his freshman year, a working-class Italian American Radcliffe student.
With hindsight, this period, particularly until 1975, is something of an anomaly in Hollywood history, a wrinkle in time fashioned by a conﬂuence of events that turned the world upside down and put the madmen—at least for a short time—in charge of the asylum. Yet, as Peter Biskind exclaims, it was “the last time it was really exciting to make movies in Hollywood, the last time people could be consistently proud of the pictures they made, the last time the community as a whole encouraged good work, the last time there was an audience that could sustain it.
In this sense, Archie expressed the sentiments of many beleaguered white males who saw their values being attacked and their comfortable worldview being shattered before their eyes. In the fall of 1971 Lionel Jefferson (Mike Evans) and his mother, Louise (Isabel Sanford), ﬁrst appeared on the show as Archie’s neighbors, joined in 1973 by husband/father George Jefferson (Sherman Helmsley). Due to George’s proﬁtable chain of dry cleaning stores, the Jeffersons soon left the blue-collar, Hauser Street neighborhood in Queens and moved “on up to a Dee-Lux” apartment on Manhattan’s swanky East Side, as well as to their own show.