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On this edition of Parallax Views, Matthew Ellis, a senior instructor in Portland State University's film and media studies program, joins the show to discuss, and more specifically demystify, the much celebrated "New Hollywood" period of American cinema. Don't be mistaken, this episode isn't an attack on the great films that came out of that period: Arthur Penn's Bonnie & Clyde, William Friedkin's Sorcerer, Haskell Wexler's Medium Cool, Francis Ford Coppola's The Godfather, Stanley Kubrick's A Clockwork Orange, Sam Peckinpah's The Wild Bunch, and Martin Scorsese's Raging Bull. It is, however, an attempt to look at the material and economic factors that led to this incredible period in American cinema. In other words, a material analysis. Coming from a Marxist perspective, Ellis is more than equipped to look at the ways in which economic forces influenced the trajectory that gave us New Hollywood. In that sense, this conversation is a look at the myths and realities of New Hollywood.

We discuss the birth of the modern blockbuster in the 1970s through Steven Spielberg's Jaws and George Lucas's Star Wars, the uses and abuses of Laura Mulvey's male gaze theory in film studies, the narrative about Michael Cimino's Heaven's Gate and the end of New Hollywood, Roger Corman and how B-movies paved the way for A-list 70s movies like Jaws, the auteur theory of cinema and criticisms of it, the Paramount drama series The Offer (which is about the development of Coppola's adaptation of Mario Puzo's The Godfather), the companies behind production and distribution in Hollywood vs. the hired hands (directors), how French director's viewed American filmmakers like John Ford and Alfred Hitchcock, neoliberalism and cinema, capitalism and the production of movies, the 1948 ruling that broke up the Hollywood studio system's monopoly on film production, Old Hollywood's producer unit system of production and the shift to the package unit system in the 1960s, and much, much more