Hollywood Film 1963–1976 – Years of Revolution and Reaction

Acknowledgments.
<p>List of Illustrations.</p>
<p>Foreword.</p>
<p>Part I: Cultural Overview: The Years of Revolution and Reaction, 1963 76:</p>
<p>1. Major Historical Events.</p>
<p>Civil Rights Legislation and Protests.</p>
<p>The Vietnam War.</p>
<p>Law and Order.</p>
<p>Realpolitik.</p>
<p>2. Economic Situation.</p>
<p>Expanse and Contraction.</p>
<p>Downturn.</p>
<p>3. Societal Issues.</p>
<p>The New Left, the Counterculture, Neo–Conservatism, and the Silent Majority.</p>
<p>Ecology, Good Health, and Fitness.</p>
<p>Scientific/Technological Advances.</p>
<p>Conglomerate Ascendancy.</p>
<p>Media Society.</p>
<p>Crime.</p>
<p>Religion.</p>
<p>A Sense of Confusion, Impotence, and Cynicism, and a Wave of Nostalgia.</p>
<p>Part II: Business:</p>
<p>4. Production Distribution.</p>
<p>Showmen, Caretakers, and Conglomerates.</p>
<p>The Practices of the Seven Major Studios: Lesser Movies, Higher Costs, Independent/Runaway Production, Sources, Stars, Sequels/Series, Mainstreaming Exploitation, The Big Kill, The Youth Movie, A Film By, Diversification.</p>
<p>Competition: Minor and New Studios.</p>
<p>The Financial Bloodbath.</p>
<p>Additional Practices: Downsizing, Negative Pickup, Co–Production/Distribution, Tax Breaks/Shelters.</p>
<p>Still Other Gambits: The Nostalgic Wave and The Special Event Movie.</p>
<p>Distribution.</p>
<p>Black Groundswell.</p>
<p>Academy Awards.</p>
<p>5. Exhibition and the New Audience.</p>
<p>Exhibition.</p>
<p>The New Audience.</p>
<p>Part III: Technology:</p>
<p>6. Color, Screen Shapes, Sound, Special Effects, and Production Refinements.</p>
<p>Color.</p>
<p>Screen Shapes.</p>
<p>Sound.</p>
<p>Special Effects.</p>
<p>Production Refinements.</p>
<p>Part IV: Style:.</p>
<p>7. Documentary and Documentary Realism.</p>
<p>8. TV and TV Theatrical.</p>
<p>9. Modernism, TV Programming/Commercials, the Avant–Garde, and Expressive Stylization.</p>
<p>Literary Design.</p>
<p>Performance.</p>
<p>Visual Design.</p>
<p>Composition.</p>
<p>Temporal Design.</p>
<p>Sound Design.</p>
<p>Part V: Censorship:.</p>
<p>10. Issues, Solutions, and Problems.</p>
<p>Subsidiary Syndrome.</p>
<p>Two–Version Ploy.</p>
<p>Dilemma: The Pawnbroker (AA, 1965).</p>
<p>Turning Point: Who s Afraid of Virginia Woolf? (WB, 1966).</p>
<p>The 1966 Production Code Guidelines and the SMA Category.</p>
<p>Ratings System.</p>
<p>Enlightenment of the Legion of Decency.</p>
<p>Divorce: Hollywood and the Church.</p>
<p>City/State Censorship and the Liberalization of the Supreme Court.</p>
<p>City/State Censorship vs. Hollywood.</p>
<p>Part VI: Genre:.</p>
<p>11. Adventure.</p>
<p>12. Biography.</p>
<p>13. Historical Spectacle.</p>
<p>14. Comedy.</p>
<p>Black Comedy.</p>
<p>Farce.</p>
<p>Parody.</p>
<p>Social Satire.</p>
<p>Romantic Comedy.</p>
<p>Family Comedy.</p>
<p>Fantasy Comedy.</p>
<p>15. Horror and Science Fiction.</p>
<p>Horror.</p>
<p>Science Fiction.</p>
<p>16. Melodrama.</p>
<p>Family Melodrama.</p>
<p>Road Film and Biker Film.</p>
<p>Female Melodrama.</p>
<p>Male Melodrama.</p>
<p>Romance Melodrama.</p>
<p>Buddy Film.</p>
<p>17. Musical.</p>
<p>Musical Comedy and Musical Drama.</p>
<p>Musical Biography.</p>
<p>18. Social Problem Film and Courtroom Drama.</p>
<p>Social Problem Film.</p>
<p>Courtroom Drama</p>
<p>19. Suspense Thriller.</p>
<p>Spy Thriller: WWII/Cold War.</p>
<p>Crime.</p>
<p>Vigilante.</p>
<p>Caper.</p>
<p>Conspiracy.</p>
<p>20. War</p>
<p>21. Western.</p>
<p>Coda: Postmodern Hollywood, 1977.</p>
<p>Appendix: Hierarchical Order of Ten Box–Office Stars, 1963 76.</p>
<p>Bibliography.</p>
<p>Index.</p>