By Peter Lev
From Library Journal
Lev (mass conversation, Towson Univ.) examines how American cinema within the Seventies portrayed society's development towards variety and egalitarianism. targeting topics and genres instead of the auteur process, Lev teams the 39 motion pictures mentioned in chapters that come with "Hippie Generation" (Five effortless items, Alice's Restaurant), and "Whose Future?" (Star Wars, Alien). His educational, nearly literary explication and interpretation works in particular good with extra cerebral motion pictures, reminiscent of Apocalypse Now, yet is much less winning with motion motion pictures and "Blaxploitation to African American" movies. there are numerous solid insights, together with the commentary that a lot of the philosophy and ideology of the Sixties counterculture used to be not likely portrayed in motion pictures till the very finish of the last decade (in movies like effortless Rider) after which fairly flourished within the movies of the Seventies. Lev additionally explores the effect of the expanding significance of selling and the altering venues for movies (cable, movies, pay-per-view). Marc Sigoloff's the flicks of the Seventies (LJ 7/84), a close filmography of the interval, is an effective complementary reference resource for Lev's essays. suggested for tutorial and picture libraries.DRichard W. Grefrath, Univ. of Nevada Lib., Reno
Copyright 2000 Reed company info, Inc.
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Additional resources for American Films of the 70s: Conflicting Visions
Could have subjected Harry to blistering criticism because he blew the case. Harry could have gotten a search warrant within minutes, I assume, for such an emergency situation. Because of his lone wolf approach, a killer will go free. Harry then could object, with vehemence, that a young girl’s life was in danger. But the film does not play the scene this way. ’s criticism is fairly mild, and both he and the legal expert seem defeated in advance. The way is left clear for Harry’s fanaticism. Beyond this legal argument, Harry turns out to be a rather complex, and not always heroic, character.
But what enrages Compton the most is Frank’s talking about Melissa’s sexuality, especially her Daddy hangup. Compton responds by pounding Frank’s head against the wall, inadvertently killing him. The film then follows the logic ‘‘hippies are scum and therefore to be exploited’’ until it reaches its inevitable conclusion, the death of Melissa. But this is where the film’s rationale explodes. If by one logic Melissa is hippie scum, by another she is Compton’s daughter and therefore precious. The ending destroys the right-wing logic of what has gone before but provides no alternative view of the world, no approach to reconciling generations, races, or classes.
Also, by shooting quickly, on location, and with a mobile camera they have demonstrated the potential of low-budget production to create striking imagery of the open road. A key to understanding Easy Rider is the Wyatt /Captain America character. Billy is a fairly obvious character, a loudmouth whose constant stream of chatter masks his insecurity. The quiet, observant Wyatt is more enigmatic. Is Wyatt a deeper, more thoughtful character than Billy, or is he just 9 10 amer ican films of the 70s as superficial, just as unsatisfactory in suggesting a new direction for American youth?