American Films of the 70s: Conflicting Visions

Notes

Notes preface 1. Mikhail Bakhtin, ‘‘Discourse in the Novel,’’ in The Dialogic Imagination, ed. Michael Holquist, trans. Caryl Emerson and Michael Holquist (Austin: University of Texas Press, 1981), pp. 262–263, 298–300; Robert Stam, Subversive Pleasures: Bakhtin, Cultural Criticism and Film (Baltimore: Johns Hopkins University Press, 1989), pp. 187–191. 2. See the essays ‘‘From the Prehistory of Novelistic Discourse’’ and ‘‘Forms of Time and Chronotope in the Novel,’’ in Bakhtin’s The Dialogic Imagination, pp. 41–146. introduction: ‘‘nobody knows anything’’ 1. William Goldman, Adventures in the Screen Trade (New York: Warner Books, 1983), p. 39. 2. A ‘‘cleaned up’’ version of this anecdote may be found in Bob Thomas, King Cohn: The Life and Times of Harry Cohn (New York: G. P. Putnam’s Sons, 1967), p. 142. 3. David Bordwell and Kristin Thompson, Film History: An Introduction (New York: McGraw-Hill, 1994), p. 697. 4. Robert Sklar, Movie-Made America, 2nd (rev.) ed. (New York: Vintage, 1994), p. 302. 5. In film history terms, the split is suggested by two subheadings in Bordwell and Thompson’s chapter on recent Hollywood film: ‘‘The New Hollywood’’ and ‘‘Hollywood Continues.’’ I like the implication here that these two things are going on simultaneously. Bordwell and Thompson, pp. 711–716. 6. Vincent Canby, commenting on the traditionalism of Rooster Cogburn, notes that the producer was Hal Wallis, ‘‘who has been making movies since 1922.’’ Canby adds that the stars, Hepburn and Wayne, could have played these same roles thirty-five years earlier. Vincent Canby, ‘‘New Movies with That Old Appeal,’’ New York Times, 26 October 1975. 7. Paul Monaco, Ribbons in Time: Movies and Society Since 1945 (Bloomington : Indiana University Press, 1987), p. 100. Monaco takes his definition of nostalgia from Fred Davis, Yearning for Yesterday: A Sociology of Nostalgia (New York: Free Press, 1979), p. 22. chapter 1: hippie generation 1. Ethan Mordden, Medium Cool: The Movies of the 1960s (New York: Knopf, 1990), p. 213. 2. Recent scholarship has stressed the contributions of Terry Southern to the screenplay. See Lee Hill, Easy Rider (London: British Film Institute, 1996), pp. 15–20, 29; Mark Singer, ‘‘Whose Movie Is This?’’ New Yorker, 22 June 1998, pp. 110–116, 118–119. 3. Jamie Diamond, ‘‘Peter Fonda Finds a Bit of Henry Within,’’ New York Times, 8 June 1997. 4. ‘‘50 Top-Grossing Films,’’ Variety, 23 July 1969, p. 9. 5. Stephen Farber, ‘‘End of the Road?’’ Film Quarterly 23, no. 2 (Winter 1969–1970): 3–4. 6. Dennis Hopper, commentary to the laserdisc of Easy Rider, Special Collector ’s Edition, Columbia Pictures. 7. Hill, pp. 24, 40–42. 8. Jeff Greenfield, ‘‘Easy Rider: A Turning Point in Film? A Profound Social Message? An Endless Bummer?’’ Esquire, July 1981, p. 90. 206 notes to pages xviii–7 9. Diana Trilling, ‘‘Easy Rider and Its Critics,’’ Atlantic Monthly, September 1970, pp. 93–95. Trilling thinks that the drug being bought and sold in Easy Rider is heroin. The authors of the film identify it as cocaine, but this should not affect her argument. 10. Margie Burns, ‘‘Easy Rider and Deliverance, or, the Death of the Sixties,’’ University of Hartford Studies in Literature 22, no. 2/3 (1990): 44–58. 11. Farber, ‘‘End of the Road?’’ pp. 7–9. 12. Henry D. Herring, ‘‘Out of the Dream and into the Nightmare: Dennis Hopper’s Apocalyptic Vision of America,’’ Journal of Popular Film and Television 10, no. 4 (1983): 145. 13. Ibid., p. 148. 14. Ibid., p. 151. 15. David E. James, Allegories of Cinema: American Film in the Sixties (Princeton, N.J.: Princeton University Press, 1989), pp. 17–18. 16. Jonathan Aitken, Nixon: A Life (Washington, D.C.: Regnery Publishing, 1993), p. 360. 17. Patrick McGilligan, Jack’s Life: A Biography of Jack Nicholson (New York: Norton, 1994), p. 196. 18. Herring, p. 149. 19. Anthony Macklin, ‘‘Easy Rider: The Initiation of Dennis Hopper,’’ Film Heritage 5, no. 1 (1969): 9. 20. Robin Wood, Arthur Penn (New York: Praeger, 1969), p. 103. 21. Farber, ‘‘End of the Road?’’ pp. 10–11. 22. Wood, Arthur Penn, p. 118. Bernard Weinraub, ‘‘Director Arthur Penn Takes on General Custer,’’ New York Times, 21 December 1969. 23. Vincent Canby, ‘‘Alice’s Restaurant’’ (review), New York Times, 25 August 1969. 24. Thomas Schatz, Old Hollywood/New Hollywood: Ritual, Art and Industry (Ann Arbor: UMI Press, 1983), p. 199. For an analysis of Joe, see my...