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The New Hollywood, Hollywood Renaissance, American New Wave, or New American Cinema (not to be confused with the New American Cinema of the 1960s that was part of avant-garde underground cinema [6]), was a movement in American film history from the mid-1960s to the early 1980s, when a new generation of filmmakers came to prominence.
The Film-Makers' Cooperative (a.k.a.The New American Cinema Group, Inc.) is an artist-run, non-profit organization founded in 1961 in New York City by Jonas Mekas, Andy Warhol, Shirley Clarke, Stan Brakhage, Jack Smith, Lionel Rogosin, Gregory Markopoulos, Lloyd Michael Williams, and other filmmakers, for the distribution, education, and exhibition of avant-garde films and alternative media.
Sitney was a fixture at New York University's doctoral program in its new cinema studies department in 1970. Before moving to Princeton, he also taught at the Cooper Union for the Advancement of Science and Art. He has been a major critical leader and intellectual supporter of the New American Cinema avant-garde movement. [6]
The American independent film, prior to the 1980s and first half of the 1990s, [19] [20] [11] was previously associated with race films, [21] Poverty Row b movies (e.g. Republic Pictures [22] [23]), exploitation films, avant-garde underground cinema (when it was known as the New American Cinema [24] [25]), social and political documentaries, experimental animated shorts (since the mid-1930s ...
The history of cinema in the United States can trace its roots to the East Coast, where, at one time, Fort Lee, New Jersey, was the motion-picture capital of America. The American film industry began at the end of the 19th century, with the construction of Thomas Edison's "Black Maria", the first motion-picture studio in West Orange, New Jersey.
The American independent film, prior to the 1980s and first half of the 1990s, [9] [10] [11] was previously associated with b movies, exploitation films, avant-garde underground cinema (when it was known as the New American Cinema [12]), social and political documentaries, experimental animated shorts (since the mid-1930s featuring works by pioneer animators Mary Ellen Bute and Oskar ...
Thomas Cohen, in a 2012 book discussing her career, described her features as "films considered essential works of New American Cinema". [ 21 ] From 2012 onwards, Milestone Films undertook "Project Shirley", an in-depth, eight-year project to release restored versions of many of Clarke's films on DVD and Blu-ray, preceded by limited theatrical ...
Whereas the New American Cinema was marked by an oblique take on narrative, one based on abstraction, camp and minimalism, structural filmmakers like Frampton and Snow created a highly formalist cinema that foregrounded the medium itself: the frame, projection, and most importantly, time.