American cinema
The 1948 Hollywood Antitrust Case led to the end of the Hollywood studio system and the development of art-house and grind-house movie theatres. [Nov 2005]
By genre: American horror - American erotic films - blaxploitation - Hollywood - New American Cinema - New Hollywood - USA
Connoisseurs: Peter Biskind
Actors: Julianne Moore - Susan Tyrrell
Films: The Intruder (1962) - Ghost Dog (1999)
Related: American International Pictures - Classical Hollywood cinema - Hollywood - American censorship - MPAA
A director's canon: Woody Allen - Paul Bartel - Tim Burton - Roger Corman - Todd Haynes - Spike Lee - David Lynch - Radley Metzger - John Sayles - Ed Wood, Jr.
American-born directors/producers or directors/producers who have made films in the United States: A - Woody Allen - Robert Altman - P.T. Anderson - Kenneth Anger - B - Kroger Babb - Paul Bartel - Bernardo Bertolucci - Peter Bogdanovich - Stan Brakhage - Tim Burton - C - John Carpenter - Coen brothers - Larry Cohen - Tony Conrad - Alex Cox - Francis Coppola - Roger Corman - David Cronenberg - D - Joe Dante - Jonathan Demme - Cecil B. DeMille - Maya Deren - E - Thomas Edison - F - Abel Ferrara - Samuel Fuller - G - Vincent Gallo - H - Todd Haynes - I - Alfred Hitchcock - Tobe Hooper J - Spike Jonze - K - Philip Kaufman - Amos Kollek - L - Fritz Lang - Ang Lee - Spike Lee - Val Lewton - David Lynch - M - Guy Maddin - Radley Metzger - E. Elias Merhige - Russ Meyer - N - O - P - Brian De Palma - Roman Polanski - Otto Preminger - Q - Brothers Quay - R - Alex de Renzy - George Romero - Ken Russell - S - Joe Sarno - John Sayles - Douglas Sirk - Jack Smith - Martin Scorsese - Josef von Sternberg - Erich von Stroheim - T - Quentin Tarantino - Dante Tomaselli - V - Gus Van Sant - W - John Waters - Orson Welles - Doris Wishman - Ed Wood, Jr.
Definition
The cinema of the United States, sometimes simply referred to as Hollywood refers to the film industry of the United States of America. Much like American popular music, it has has had a profound effect on cinema across the world since the early 20th century. Its history is marked by two distinct periods, the first often referred to as Classical Hollywood cinema, the second as the New Hollywood. --http://en.wikipedia.org/wiki/Cinema_of_the_United_States [Nov 2004]1990s American film
The 1990s saw another significant development. The full acceptance of video by studios opened a vast new business to exploit. It also saw the first generation of film makers with access to video tapes emerge. Directors such as Quentin Tarantino and P.T. Anderson had been able to view thousands of films and produced films with vast numbers of references and connections to previous works. This, along with the rise of so-called "independent film" and ever-decreasing costs for filmmaking, changed the landscape of American movie-making once again, and led a renaissance of filmmaking among Hollywood's lower and middle-classes—those without access to studio megabucks. --http://en.wikipedia.org/wiki/Cinema_of_the_United_States [Oct 2004]see also Todd Haynes
The advent of television [...]
[In the 1950s], the number of movies being made dropped sharply, even as the average budget soared, because Hollywood wanted to offer audiences the kind of spectacle they couldn't see on television. However, the competition by this rival medium inadvertantly benefitted the film industry. This is because public opinion about the quality of television content soon declined, and by contrast, cinema's status began to rise to become a more respected artform. --http://en.wikipedia.org/wiki/Cinema_of_the_United_States [Nov 2004]Stranger Than Paradise (1998) - Geoff Andrew
Stranger Than Paradise (1998) - Geoff Andrew [Amazon.com] [FR] [DE] [UK]
Synopsis
This is a study of the outsider directors who have come to dominate America's and Hollywood's creative output in the last two decades: the Coen Brothers; Hal Hartley; Todd Haynes; Jim Jarmusch; Spike Lee; Richard Linklater; David Lynch; John Sayles; Steven Soderbergh; Quentin Tarantino; and Wayne Wang. The book places these directors within the story of the growth of American independent film-making, and draws connections to their forerunners from the late-1960s and 1970s, influences such as Robert Altman, John Cassavetes, Roger Corman, and Martin Scorcese. As well as a chapter on each of the above 11 directors, the book provides a general assessment of the explosion of independent cinema in the States: mainstream mavericks (Tim Burton, John Dahl); new queer cinema (Rose Troche, Tom Kalin); black film-makers (Charles Burnett, John Singleton); women directors (Alison Anders, Maggie Greenwald); experimentors, imitators, cult figures, and a peripheral cast of hundreds from Steve Buscemi to Gus Van Sant. --via Amazon.com
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