Geschichte des amerikanischen Films

Geschichte des amerikanischen Films

Teil 2/2: 1960-2013

PD Mag. Dr. Claus Tieber

Übergang vom alten zum neuen Hollywood Beginn Ende der 1940er Jahre Ende frühe 1970er Jahre


Auswirkungen des Fernsehens:

beschleunigte “Auflösung” der Majors

neue Technologien (Widescreen) Feature Film verändert sich


USA in den 1960er Jahren Attentate: JFK, Robert Kennedy, Martin

Luther King, Malcom X Civil Rights Bill 64 Kubakrise, Vietnamkrieg, Antiwar protests

JFK, Lyndon B. Johnson Riot democratic party convention 1968

Chicago

sexual revolution, Antibaby-Pille 1960 Jugendkultur


Hollywood in den 1960er Jahren double bill verschwindet weniger Filme Risiko steigt 1961: ¾ der Filme verlieren Geld profit margins increased

exponentially 1895-1960: 20 Filme more than 10 Mill. 1960-1969: 60 Filme


Runaway Productions

1960: 40% of all movies financed by Hollywood majors were shot overseas

UK, Italien und Frankreich: direct governmental subsidies

incompetent and/or inefficient foreign crews, language

Lawrence of Arabia 1962 Dr. Strangelove 1964

Struggle with SAG (Actor's guild) unemployment among technicians and production

personnel 40%


Fernsehen 1949: 2% der US-Haushalte besitzen Fernseher 1959: 86 % Columbia und Universal erste Studios die TV-

Programm produzieren, Movies for TV Ende der 1960er: mehr Filme fürs TV als fürs Kino

Networks: ABC, CBS, NBC 1967: CBS kauft Republic facilities 17 self-produced feature length movie production SAG not to oppose CBS or ABC


Schauspieler

SAG Streik 1960 Health and welfare plan 6% of producers net revenues from sale

of old films sale of pre-1948 films

actors as producers percentage deals Bryna Productions: Kirk Douglas Batjac Prod. Company: John Wayne


Independent filmmaking

7 Majors: 2/3 aller Filme, so gut wie alle first-run Filme 1958: 50% independent 1960: 75% independent

165 Produktionsfirmen

Lawyers and agents

from making movies to financing them distribution 1963 Film Production Steuererleichterung Hits tragen finanziell die Flops nicht mehr agents, actors, writers, directors, financiers werden

Produzenten


American International Pictures (AIP)

Samuel Z. Arkhoff and Ben Nicholson Roger Corman Low budget Teenage audience The Wild Angels 1966

Peter Fonda, Nancy Sinatra Largest grossing low budget film, Venice film festival

Easy Rider 1969 Fonda, Hopper, Nicholson Most successful independent production of the 60s Distribution deal with Columbia


Ausverkauf

MCA kauft Universal 1962 Gulf & Western kauft Paramount

1966 TransAmerican Corp. (Bank of

America) kauft UA 1967 Seven Arts Merger mit WB 1967 Kirk Kerkorian kauft MGM 1969


Paramount

Gulf and Western Desilu (TV production) Madison Square garden Basketball and hockey team Holiday on ice Simon and Schuster

Robert Evans Rosemary's Baby 1968


20th Century Fox

Sold its lot – Century City Cleopatra 1963

Walter Wanger 40 Mill. Dollar

Skouras fired 1965 Sound of Music Doctor Dolittle 1967 und Star! 1968

floppen


Columbia

British co-prod.: Lawrence of Arabia, A Man for All

Seasons 66, Oliver! 68 Sidney Portier

In the Heat of the Night 1967 Guess Who's Coming to Dinner 1967

Easy Rider 1969 Funny Girl 1968


UA

UK co.-prod: Tom Jones 1963, A Shot in the Dark

1964, A Hard Day's Night 1964 Bond-Filme Midnight Cowboy 1969


MGM

Back lot, props, music library werden verkauft

MGM Grand Hotel und Casino in Las Vegas


Kinopublikum Rising marriage and birth rates Mehr Freizeit Mehrheit lebt in den Vorstädten Unabhängige Kinobesitzer

Vorstädte sind fast ausschließlich weiß (WASP)

Segregation wird 1964 juristisch beendet

Frauen waren seit dem Ende des 1. WKs die Mehrheit im Publikum

das verbleibene Publikum wird jünger und männlicher


Arthouses and Festivals 500 nationwide in den frühen 1960er Jahren studentisches Publikum large cities or towns with students by the 1970s growth was over mix of foreign film and low budget American features

labeled "independent“

Film Festival New York Film Festival seit 1963 im Lincoln Center Amos Vogel Erste Seminare im Rahmen des festivals Film generation Vogel: “for young people (film) is their art – the 20th

century art form”


Kinokultur, Festivals

film festivals, college courses, writings

Andrew Sarris, Pauline Kael, Stanley Kauffmann

Foreign films


Kinos Drive ins

Multiplex 1960: 25 Kinos shopping center theater two small theaters, single projection booth In den nächsten 20 Jahren (von 1963 angefangen)

218 Kinos mit 2.700 screens

1966: über 500 werden gebaut, alle suburban multiplexes

Ende der 1960er Renovierung der älteren Kinos in Multiplexe


Academy Awards

TV macht die Verleihung zum globalen Event

Bob Hope Kodak sponsored 1966 zum 1. Mal in Farbe sw und Farbe cinematography 1966 verschoben wg. Martin Luther

King Dorothy Chandler Pavilion mehr Moderatoren


1963 best actor: Sidney Poitier


Academy Awards für Afro-AmerikanerInnen

Actor in a Leading Role

1963: Sidney Poitier (Lilies of the Field)

2001: Denzel Washington (Training Day)

2004: Jamie Foxx (Ray) 2006: Forest Whitacker (The Last

King of Scotland)


Actress in a Leading Role 2001: Halle Berry (Monster‘s Ball)

Actor in Supporting Role 1982: Lou Gossett Jr. (An Officier and

a Gentleman) 1989: Denzel Washington (Glory) 1996: Cuba Gooding Jr. (Jerry

Maguire) 2004: Morgan Freeman (Million

Dollar Baby)


Actress in a Supporting Role 1939: Hattie McDaniel (Gone With

the Wind) 1990: Whoopie Goldberg (Ghost) 2006: Jennifer Hudson (Dreamgirls) 2009: Mo‘Nique (Precious) 2011: Octavia Spencer (The Help)


Production Code The French Line 1954 in 3D condemned Splendor in the Grass 61, Kazan, released without

a seal The Pawnbroker 1965 Who's Afraid of Virginia Woolf? 1966 Blow Up 19 66, MGM vertreibt den Film ohne

Siegel Bonnie and Clyde 1967

Eric Johnston MPAA erwägt 1961 erstmals den Ersatz des Codes durch ein Rating System

1966 Jack Valenti wird MPAA President


Rating System

tritt am 1.11.1968 in Kraft

G M (spatter PG) R X (spatter NC-17) X : The Damned 1969, Midnight Cowboy

1969, A Clockwork Orange 1971 erst in den 1970ern steht X für Porno


Rating Sytem


Kamera

James Wong Howe Hud 1963

Robert Surtees

My Fair Lady 1964 Graduate 1967

Burnett Guffey Bonnie and Clyde


Kamera Haskell Wexler

In the Heat of the Night 1967 Thomas Crown Affair 1968 Medium Cool 1969

Laszlo Kovacs Easy Rider 1969

William Fraker

Rosemary's Baby 1968 Bullitt 1968


Eugen Shuftan: The Hustler 1961


Robert Surtees


Innovativer Schnitt

ASL average shot length von1958 -63 von 11 Sekunden auf 9,3 Sekunden

1963-69: 7,7 Sekunden Anne Coates

Lawrence of Arabia 1962

keine fades und dissolves mehr, associational montage, slow motion, freeze frame

Shorter shots, Quickened narrative pace, Influence by TV and experimental film


split screen

Boston Strangler 1968 Woodstock 1970


Dede Allen

The Hustler 1961 America, America 1963 Bonnie and Clyde 1967


George Tomasini

Rear Window 1954 Psycho 1960


Sound

Automatic dialogue replacement (ADR)

Dubbing became more sophisticated and polished

Off-Screen Sound Lawrence of Arabia 1962

Overlapping dialogue sound Dolby


Musik 1958 entlassen die Studios ihre Musiker Jazz

Alex North▪ A Streetcar Named Desire 1951

Elmer Bernstein▪ The Man with the Golden Arm 1955

Quincy Jones▪ The Pawnbroker 1965▪ In the Heat of the Night, In Cold Blood 1967

Duke Ellington▪ Anatomy of a Murder 1959


Musik Henry Mancini

Peter Gunn (TV Serie) Breakfast at Tiffany's 1961 Experiment in Terror 1962 Days of Wine and Roses 1962 Pink Panther 1963

Bernhard Hermann

Birds 1963 Seven Days in May 1964 Psycho 1960


Musik 2001: Odyssee in Space: temp track Alex North Score nicht

verwendet song scoring

The Graduate 1967

Alice's Restaurant 1969, Arlo Guthrie Zabriskie Point 1970 Pink Floyd Easy Rider 1969

Midnight Cowboy (Harry Nilson) Butch Cassidy and the Sundance Kid (Burt Bacharach)


Musik

John Barry Lalo Schifrin Michel Legrand Jerry Goldsmith

Soundtrack-Alben


Schauspielerinnen Doris Day

Most profitable star 1960-65, danach nicht mehr unter den top ten Elizabeth Taylor

1960: 750.000 $ Butterfield 8, Oscar Who's Afraid of Virginia Woolf 66

Natalie Wood

Splendor in the Grass 61 West Side Story 621

Audrey Hepburn

Breakfast at Tiffany's 61 My Fair Lady 64


Schauspielerinnen Julie Andrews

Mary Poppins 64 Sound of Music 65 S.O.B. 81

Shirley MacLaine Faye Dunaway Kathrine Ross Jane Fonda

Barefoot in the Park 67 Barbarella 68 They Shoot Horses don't they? 69

Barbra Streisand Funny Girl 68


Schauspieler Paul Newman

Hustler 61 Hud 63 Cool Hand Luke 67 Butch Cassidy and the Sundance Kid 69

Warren Beatty

Splendor in the Grass Lilith 64 Mickey One 65

Steve McQueen Magnificent seven 60 Great Escape 62 Cincinnatti Kid 65 Bullitt 67 Thomas Crown affair 68

Dustin Hoffmann

The Graduate 67 Midnight cowboy 69


Schauspieler

Sidney Poitier Defiant Ones 58 Lilies of the field 63 Guess who's coming to diner 67 In the heat of the night 67

Jerry Lewis Woody Allen und Mel Brooks


Oscars PR campaigns Wayne's The Alamo nomination for best picture The Apartment West Side Story Lawrence of Arabia Tom Jones My Fair Lady Sound of Music A Man for All Seasons In the Heat of the Night Midnight Cowboy


Western

Lonely Are the Brave 62 Butch Cassidy and Sundance Kid 69

True Grit 69 Wild Bunch 69


1967

Cool Hand Luke Graduate Bonnie and Clyde The Graduate:

72% unter 24 24 % 24-30 Jahre

Pauline Kael


New Hollywood

Autorenkino Blockbuster


Ausverkauf

Universal – MCA 1962 Paramount Gulf and Western 1966 UA TransAmerica 1967 WB Kinney National Service Corp.

1969 MGM Kirk Kerkorian 1969


Hollywood in den 1970er Jahre Exploitation Shift in audience Rating system Distribution: saturation booking


Distribution saturation release: sehr hohe Kopienzahl: 1.500

bis 2.500 Kopien

four walling: mietet der Anbieter ein Kino und umgeht so zur Kostenreduzierung den Verleih.


Steuererleichterungen

Federal income tax credits on losses Investment tax credit on domestic

production Tax shelters and tax-leveraged

investment became the key mode of production finance

Financing 20% of all film starts 1973-76

Outlawed domestically, they migrated overseas: Germany, Australia


Blockbuster Mentality

Marketing Event films Synchronize production with

marketing Marketing begins before a film is

even scripted Saturation booking Massive TV Ads distribution pattern of exploitation

producers


Blockbuster

Merchandising Sound-track album Product tie-ins Product placement


Blockbuster

One big film a year 1977: top 6 von 199 sind 1/3 der

Jahreseinnahmen der Filmindustrie verantwortlich


Risk-reducing

genre sequel series remakes reissues prequels


Blockbuster

Love Story 1970 The Godfather 1972 Jaws 1975


Auteur Cinema

Film generation (Ausbildung an Filmschulen, Filmkultur, Filme im TV)

Auteur theory Andrew Sarris „another way to market the product“


Stil

„Superficial stylistic exuberance, leaving Classical Hollywood's paradigms fundamentally untouched“

Return to genre „Blockbuster production demanded

stories that were pre-tested, pre-sold and easily packaged for global distribution“

Neo-classicism


Genres

Interesse an Filmgeschichte, Form und Stil

Risk reduction via genre Classical genres Revising, de-constructing, correcting

genre Exploitation genres Genre parody Genre pastiche Nostalgia


Western

Vietnam Western (Little Big Man) Modernist or Anti-Western (McCabe

and Mrs. Miller) Traditional Westerns (John Wayne) Comic and Parodic Westerns

(Blazzing Saddles)


Gangster

Godfather Getaway 72 Badlands 73 Sugarland Express 74 Dog Day Afternoon 75 Mean Streats 73


Noir

Chinatown 74 Long Goodbye 73 Night Moves 75

Vigilante/revenge movies Dirty Harry 71 Death Wish 74 Straw Dogs 71 Taxi Driver 76


Conspiracy Thrillers

Parallex View 74 All the President's Men 76 Conversation 74 Three Days of the Condor 75


Musical

Woodstock 70 Fiddler on the Roof 71 Cabaret 72 New York, New York 77 That's Entertainment! 74 Nashville 75 Rocky Horror Picture Show 75 Tommy 75 Saturday Night Fever 77 Grease 78


Horror The Exorcist 73

Most commercially successful horror film ever made 226

First to be nominated as best picture

The Omen 76 Texas Chain Saw Massacre 74

Vision of the American family as monstrosity and the American home as slaughterhouse 229


Horror Jaws 75

„Moving subjective camera shots from the shark's point of view“

Halloween male psycho-killer who stalks sexually active teenage girls Steadicam

Subjektive kamera POV des Killers Hand-held camera

Misogynie, Sexismus


SF Westworld 73 Omega Man 71 THX-1138 71 Silent Running 71 Soylent Green 73 Dark Star 74 Star Wars 77

Close Encounters 77 Superman 78 Alien 79


Katastrophenfilme

Airport 70 Poseidon Adventure 72 Towering Inferno 74


Blaxploitation

Civil Rights Movement of the 1960s Black filmmakers Proud new attitude: „Say it loud, I'm

black and I'am proud“ Ossie Davis Melvin Van Pebbles Sweet Sweetback's Baad Assss Song

(1971) Shaft (MGM) (Gordon Parks Sr.) (1971) Superfly (Gordon Parks. Jr. 1972)


Blaxploitation Stereotypical depiction

Black detectives, gangsters, prostitutes, drug kingpins Written, directed and produced by whites

Hammer 1972 Cool Breeze 72 Trouble Man 72 Black Caesar 73 Coffy 73 Cleopatra Jones 73 Foxy Brown 74


Kung Fu

Importe aus Hong Kong Shaw Brothers

Bruce Lee Enter the Dragon 73 WB


Porno

Werben mit X-rated Newspapers to refuse to review or

accept advertising for all X-rated films

1972: 47% of exhibitors were refusing X-rated films

films cut to avoid x-rating NC 17 ersetzt 1990 das X Porn Chic


Russ Meyer

Beyond the Valley of the Dolls 1970 Vixens 68 Supervixens 75 Beneath the Valley of the Dolls 79 Roger Ebert Drehbücher


Porno

Radley Metzger Opening of Misty Beethoven 76 Deep Throat 72

11th highest grossing film of the year

Devil in Miss Jones 72 Behind Green Doors 73


Einfluss und Auswirkungen Last Tango in Paris 73 UA Emanuelle 74 Columbia import Story of O 75 Pretty Baby 78

Taxi Driver 76 Exorcist 73

VCR


Zuschauer

1977: Über 40-Jährige machen 45 % der US-Bevölkerung aus, aber nur 13% der Kino-Eintrittskarten

57 % des Kinopublikums sind unter 25 Jahre

shopping mall, mall cinemas Übergang vom first run etc. zu Jahres


MGM

Reissues James T. Aubrey Replaced in 73 81 merger mit UA


Paramount Deal with MCA joint distributionship abroad: CIC cinema

international corporation Control a third of hollywood's overseas market Joined by UA 1981: UIP (United International Pictures)

Frank Yablans, Michael Eisner Don Simpson Jeffrey Katzenberg

Second boom in 77-78: SNF, Grease, Heaven Can Wait 78 Yablans: „we want one big picture a year. The rest are

budgeted to minimize risk.“


WB-Seven Arts

-Warner-Elektrik-Atlantic record company WEA

Ted Ashley (Agent) 1989 merger mit Time, Inc. (Time

Warner)


20th Century Fox

Darryl Zanuck CEO Richard reorganized and diversified Resignation of both The Sting 73 Towering Inferno 74 mit WB Alan Ladd Jr. Star Wars


Universal

MCA was forced to sell ist agency business

Universal City 1964 American Graffiti 73 Jaws 75 Nur 11 filme in 1976


Columbia

Deal mit BBS Bert Schneider 82 von Coca Cola gekauft


UA Cost cutting

Firing 300 employees Capping production budgets at 2 mill. $

Distributor of MGM Eric Pleskow wird 73 Präsident und CEO 78: Krim, Benjamin, Pleskow resigned and formed Orion

Pictures Company, first major new film company in 50 years Heaven's Gate 80

219 min version zurückgezogen 149 min

Apokalypse Now 79 81 Kerkorian kauft UA merged MGM/United Artists Entertainment Company wird 86 von Ted Turner gekauft


Disney

Roy Disney 71: Disney World Orlando reissues 68-73: 35% total gross - reissues 79 verlassen Don Bluth und andere

Animateure Disney und gründen Don Bluth Productions

Hälfte der Einnahmen aus Theme Parks Touchstone Pictures 1980 wird Michael Eisner CEO und Chair


Independents

1975-76: 300 independents R and PG rated action and

exploitation 2/3 of all American production 10-15% box office


Agenturen MCA Lew Wasserman

William Morris Agency International Creative Management ICM Creative Artists Agency CAA Michael Ovitz

Dominated deal-making and packaging Packagers and producers of films Sue Mengers „Deal making had replaced filmmaking“


Exhibition

1980: General Cinema UA Communication, Inc. AMC Plitt Theaters

Saturation booking Wide release

1977 six majors releasing 12-25 films each (annually) film shortage peak seasons – summer, thanksgiving, christmas-new

year's, easter


technische Innovationen

cinematography spezial effects sound


Cinematography Local 659 Gewerkschaft, Ausschließungsmechanismen Improvements in lightning and film stock Panaflex Mitchell

Steadycam

Video-Assist Technology


Special Effects

Matting Blue Screen Star Wars 77 Industrial Light and Magic

computerized motion-control system Tron 1982


Sound

Dolby Stereo Optical Sound Star Wars wurde in mehr Kinos mit Dolby

als ohne gezeigt. „Second Coming of Sound“

Filme wie Jaws und Exorcist immer noch mono

Dolby Surround


Sound Design

Walter Murch „The right and appropriate

combination of sounds- and putting them in the right place“

The Conversation

Foley recording


Resumee 70er Majors recovered strongly ended the decade dominating both the

domestic and international markets Film only one item in multimedia package Den alten Studiobossen gehörte das Studio,

die neuen sind Manager und 1%er Drei Jahre nach Heavens Gate waren alle

Managements der Majors ausgetauscht steigende Produktions- und Marketingkosten Outside Money


Form und Stil

Narrative form changed very little

Screenwriting manuals (Syd Field) rapid cutting Jump cutting largely abandoned Long takes mehr in europäischen

filmen Lighter cameras, location shooting Steadicam or hand-held

Geschichte des amerikanischen Films

Documents

Transcript of Geschichte des amerikanischen Films