Movie Brats
Make Way “Movie Brats”
In the late 1960s to late 1970s, as the veteran directors retired, a new generation gradually took their place. Associated with “New Hollywood,” these young and diverse directors, often in their late twenties and early thirties, were considered “movie brats.” These new directors Some of the more famous were Francis Ford Coppola, Stephen Spielberg, and George Lucas; all of whom had an intense awareness of film history, worked with quotations and remakes, and created extremely successful films. With an influx of new directors, it seemed fit that they would take over the industry entirely. However, director Robert Altman, born around twenty years earlier and being significantly older than his “movie brats” successors, Altman remained essential to the industry.
Post mid-1970s, it was less commonplace for efforts to be put toward maintaining Hollywood art cinema. The new directors were focusing on box-office revenue and the production of both action-oriented and youth-oriented, blockbuster films with radiant special effects. Two films that demonstrated such qualities were Steven Spielberg’s Jaws and George Lucas’s Star Wars. Altman persisted for efforts to be continued. He, as well as other older directors like Paul Mazusky and Woody Allen, ventured into the American art cinema. Altman had to work at a rapid pace during the 1970s as he completed more than a dozen films. He also had to compete with the younger generation of Hollywood that was producing huge blockbuster hits. Though rather than trying to create an action flick, Altman stayed true to his roots and produced films primarily based on the character’s emotions rather than plot. Two specific movies in which Altman emphasized shifts from objective reality and subjectivity of the character are Images and 3 Women.
In 1970, Altman directed M*A*S*H*; a film praised for its uses of humor with a topic as heavy as the Korean War and for becoming one of the highest grossing films of the year.
In the late 1960s to late 1970s, as the veteran directors retired, a new generation gradually took their place. Associated with “New Hollywood,” these young and diverse directors, often in their late twenties and early thirties, were considered “movie brats.” These new directors Some of the more famous were Francis Ford Coppola, Stephen Spielberg, and George Lucas; all of whom had an intense awareness of film history, worked with quotations and remakes, and created extremely successful films. With an influx of new directors, it seemed fit that they would take over the industry entirely. However, director Robert Altman, born around twenty years earlier and being significantly older than his “movie brats” successors, Altman remained essential to the industry.
Post mid-1970s, it was less commonplace for efforts to be put toward maintaining Hollywood art cinema. The new directors were focusing on box-office revenue and the production of both action-oriented and youth-oriented, blockbuster films with radiant special effects. Two films that demonstrated such qualities were Steven Spielberg’s Jaws and George Lucas’s Star Wars. Altman persisted for efforts to be continued. He, as well as other older directors like Paul Mazusky and Woody Allen, ventured into the American art cinema. Altman had to work at a rapid pace during the 1970s as he completed more than a dozen films. He also had to compete with the younger generation of Hollywood that was producing huge blockbuster hits. Though rather than trying to create an action flick, Altman stayed true to his roots and produced films primarily based on the character’s emotions rather than plot. Two specific movies in which Altman emphasized shifts from objective reality and subjectivity of the character are Images and 3 Women.
In 1970, Altman directed M*A*S*H*; a film praised for its uses of humor with a topic as heavy as the Korean War and for becoming one of the highest grossing films of the year.