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“El Nuevo Hollywood De Los Setenta” En La Filmoteca De Cataluña

"The New Hollywood of the Seventies" at the Catalonia Film Archive

If this August you're staying in Barcelona and don't have big plans, make sure to visit the Filmoteca de Cataluña one afternoon; it's a great option. Two comfortable air-conditioned theaters located in the Raval, one of the liveliest neighborhoods in the city, a bar with good food and drinks on-site, bearing the intriguing name La Monroe, and an excellent program; details that no film enthusiast or student should overlook.

The film industry underwent a drastic change in the late sixties and especially in the first half of the seventies. It was the era of the Vietnam War, the "flower power" movement, counterculture, drugs, civil rights movements; these movements shook American society and the world in general. Of course, the old Hollywood studio system also felt the impact of this wave of generational changes. Hollywood was facing a deep economic, intellectual, and talent crisis during those years. The old masters were either not making films or had already retired, and the last generation of filmmakers, referred to as the Television Generation, failed to engage with the new audiences who, on the other hand, connected with European cinema. The Nouvelle Vague or Neorealism captured the viewers' interest, who appeared to be seeking different stories told in a different way, as Michelangelo Antonioni had suggested. Therefore, following the success of "Easy Rider" (1968, Dennis Hopper), the major studios realized they could achieve success and profit by exploring new filmmaking styles and storytelling, entrusting a new wave of directors and young actors to breathe new life into the industry. Themes like sex, drugs, or certain forms of violence ceased to be taboo, and genres such as thriller, fantasy, or western were reinvented and deconstructed, leaving a legacy that still resonates to this day.

Francis Ford Coppola, Martin Scorsese, Steven Spielberg, Peter Bogdanovich, Brian de Palma, and Paul Schrader are some of the names that rose to rejuvenate the old and stagnant film industry. These directors, besides bringing a European influence to the cinematic landscape by asserting authorship, also started producing films to have full control over their work and increase their profits.

A splendid decade filled with unforgettable titles that perfectly illustrates the book "Easy Riders, Raging Bulls" (1989, Peter Biskind). The book that gives the name to the series, "Easy Riders, Raging Bulls: The New Hollywood of the Seventies," features titles such as "The Godfather" (1972, Francis F. Coppola), "The Last Detail" (1972, Hal Ashby), "The Honeymoon Killers" (1970, Leonard Kastle), "The Last Picture Show" (1971, Peter Bogdanovich), "M.A.S.H." (1970, Robert Altman), or "Taxi Driver" (1976, Martin Scorsese).

Don't miss it!

For more information about the Filmoteca's program, you can visit their website at www.filmoteca.cat.

If this August you are staying in Barcelona and don't have big plans, go one afternoon to the Filmoteca de Cataluña; it's a very good option. Two comfortable air-conditioned rooms located in El Raval, one of the liveliest neighborhoods in the city, a bar with good food and drinks on the premises, with an enticing name like La Monroe, and an excellent program; details that no film enthusiast or student can overlook.

The film industry underwent a radical change in the late sixties and especially in the first half of the seventies. It was the era of the Vietnam War, the "flower power" movement, counterculture, drugs, civil rights movements – all of these movements shook American society and the world in general. Of course, the old Hollywood studio system also suffered the impact of this wave of generational changes. Hollywood was experiencing a deep economic, intellectual, and talent crisis during those years. The old masters were practically not filming anymore or had already retired, and the last generation of filmmakers called the Television Generation failed to connect with new audiences, who, however, connected well with European cinema. The Nouvelle Vague or Neorealism caught the interest of viewers who seemed to be looking for different stories, told in a different way, as Michelangelo Antonioni had said. So, following the success of "Easy Rider" (1968, Dennis Hooper), the major studios realized they could be successful and make money with a different way of filming and different stories. They entrusted a series of new directors and young actors to revitalize the industry. Topics like sex, drugs, or certain forms of violence ceased to be taboo, and genres like thriller, fantasy, or western were redefined and deconstructed to leave a legacy that is still relevant these days.

Francis Ford Coppola, Martin Scorsese, Steven Spielberg, Peter Bogdanovich, Brian de Palma, or Paul Schrader are some of the names that emerged to breathe new life into the old and stagnant film industry. These directors, besides bringing a European touch to the cinematic landscape by advocating the concept of authorship, became producers to have total control over their works and reap more benefits from them.

A splendid decade full of unforgettable titles that perfectly illustrate the book "Easy Riders, Raging Bulls" (1989, Peter Biskind). The book that gives its name to the cycle, "Easy Riders, Raging Bulls: The New Hollywood of the Seventies," where we can see titles like "The Godfather" (1972, Francis F. Coppola), "The Last Detail" (1972, Hal Ashby), "Honeymoon Killers" (1970, Leonard Kastle), "The Last Picture Show" (1971, Peter Bogdanovich), "M*A*S*H" (1970, Robert Altman), or "Taxi Driver" (1976, Martin Scorsese).

Don't miss it!

For more information about Filmoteca's program, you can check their website www.filmoteca.cat.