New Hollywood

Template:Short description Template:Use American English Template:Use mdy dates Template:Infobox Film Movement The New Hollywood, Hollywood Renaissance, or American New Wave, was a movement in American film history from the 1960s to the 1980s, when a new generation of filmmakers came to prominence. They influenced the types of film produced, their production and marketing, and the way major studios approached filmmaking.<ref>Template:Cite web</ref> In New Hollywood films, the film director, rather than the studio, took on a key authorial role.<ref name="limitsofauteurism" />

The definition of "New Hollywood" varies, depending on the author, with some defining it as a movement and others as a period. The span of the period is also a subject of debate, as well as its integrity, as some authors, such as Thomas Schatz, argue that the New Hollywood consists of several different movements. The films made in this movement are stylistically characterized in that their narrative often deviated from classical norms. After the demise of the studio system and the rise of television, the commercial success of films was diminished.<ref name="limitsofauteurism" />

Successful films of the early New Hollywood era include Bonnie and Clyde,<ref name="ST"/> The GraduateTemplate:Sfn<ref name="10classicswedliketoforget">The Top 10 Underrated Movies ... and 10 Classics We'd Like to Forget – LAmag</ref> and Easy Rider<ref>Seconds (John Frankenheimer, 1967) and Point Blank (John Boorman, 1968) – Offscreen</ref> while films whose box office failure marked the end of the era include New York, New York, Sorcerer, Heaven's Gate, They All Laughed, and One from the Heart.<ref name="wildesteverthriller?"/><ref name="onemoviekilledthe80s">How One Movie Killed The 1980s – Patrick (H) Willems on YouTube</ref><ref name="allpowerfuldirector">The Death of the All-Powerful Director - The Ringer</ref>

It is also the name of a 1990 NBC News special hosted by Tom Brokaw about the then "new" Hollywood industry of the 1980s and early 1990s making epic mainstream blockbusters, personal mid-budget fare and smaller independent efforts.Template:Refn

History

Background

Template:Quote box Following the Paramount Case (which ended block booking and ownership of theater chains by film studios)<ref name="brokawNH"/><ref>The New Hollywood and the independent Hollywood (Chapter 5) – American Independent Cinema|Cambridge University Press</ref> and the advent of television<ref>Hollywood Highbrow: From Entertainment to Art – Google Books (pg.66)</ref> (where Gore Vidal, Rod Serling, John Frankenheimer, Arthur Penn, Paddy Chayefsky and Sidney Lumet worked in their earlier years)Template:Refn, both of which severely weakened both the traditional studio system<ref>Hollywood Independents: The Postwar Talent Takeover - Google Books</ref><ref>Hollywood and the Movies of the Fifties: The Collapse of the Studio System, the Thrill of Cinerama, and the Invasion of the Ultimate Body Snatcher--Television – Google Books (249)</ref> and the Motion Picture Production Code (or the Hays Code), Hollywood studios initially used spectacle to retain profitability. Technicolor developed a far more widespread use, while widescreen processes and technical improvements, such as CinemaScope, stereo sound, and others, such as 3-D, were invented to retain the dwindling audience and compete with television. However, these were generally unsuccessful in increasing profits.<ref>David E James, Allegories of Cinema, American Film in the Sixties, Princeton University Press, New York, 1989, pp. 14–26</ref> By 1957, Life magazine called the 1950s "the horrible decade" for Hollywood. It was dubbed a "New Hollywood" by a press.<ref name="hodgins19570610">Template:Cite magazine</ref>

In the 1950s and early 1960s, Hollywood was dominated by musicals, historical epics, and other films that benefited from the larger screens, wider framing, and improved sound. However, audience shares continued to dwindle, and had reached alarmingly low levels by the mid-1960s. Several costly flops, including Doctor Dolittle,<ref>The New Hollywood and the Independent Hollywood|American Independent Cinema: An Introduction – Oxford Academic</ref> Tora! Tora! Tora!<ref name="filmschoolwtf.com"/> and the Julie Andrews vehicle Star!, each failed attempts to replicate the success of Mary Poppins, Doctor Zhivago and The Sound of Music, put great strain on the studios.<ref>Template:Harvp</ref><ref name="nach1968"/><ref>American Films of the 70s: Conflicting Visions - Google Books (pg. "Introduction: "Nobody Knows Anything")</ref> Both British and American press dismissed filmmakers Alfred Hitchcock and Howard Hawks as "frivolous entertainers and nothing more" while praising more respectable "models of American art films" like Stanley Kramer's Judgment at Nuremberg.<ref name="rosenbaum"/> American underground cinema was usually regarded as "marginal and parochial" even with the debut features of John Cassavetes (Shadows in 1959) and Shirley Clarke (The Connection in 1961)<ref name="hownewhollywoodcreatedamericanindie"/> as both were being praised by Esquire film critic Dwight Macdonald (despite being hostile to other underground titles like Jonas Mekas's 1963 manifestation Guns of the Trees).<ref name="rosenbaum"/>

By the time the Baby Boomer generation started to come of age in the 1960s, "Old Hollywood" was rapidly losing money; the studios were unsure how to react to the much-changed audience demographics. The change in the market during the period went from a middle-aged high school-educated audience in the mid-1960s to a younger, more affluent, college-educated demographic: by the mid-1970s, 76% of all movie-goers were under 30, 64% of whom had gone to college.<ref>Template:Harvp</ref> European films, both arthouse and commercial (especially the Commedia all'italiana, the French New Wave, the Spaghetti Western), and Japanese cinema<ref name="rafelsonap"/> were making a splash in the United States – the huge market of disaffected youth seemed to find relevance and artistic meaning in movies like Michelangelo Antonioni's Blowup, with its oblique narrative structure and full-frontal female nudity.<ref>David A Cook, "Auteur Cinema and the film generation in 70s Hollywood", in The New American Cinema by Jon Lewis (ed), Duke University Press, New York, 1998, pp. 1–4</ref><ref name="Time">Template:Cite web</ref>

The desperation felt by studios during this period of economic downturn, and after the losses from expensive movie flops, led to innovation and risk-taking, allowing greater control by younger directors and producers.<ref name="harvp|Schatz|1993|pp=14–16">Template:Harvp</ref> Therefore, in an attempt to capture that audience that found a connection to the "art films" of Europe, the studios hired a host of young filmmakers and allowed them to make their films with relatively little studio control.<ref name="newhollywoodretrospective">Template:Cite web</ref> Some of whom, like actor Jack Nicholson, Dennis Hopper (who also was the main lead in Curtis Harrington's 1961 supernatural thriller Night Tide, distributed by Corman's American International Pictures)<ref>Night Tide - Variety</ref><ref>Review: Curtis Harrington's Night Tide on Kino Lorber Blu-ray - Slant Magazine</ref> and director Peter Bogdanovich, were mentored by "King of the Bs" Roger Corman<ref>Roger Corman: "Hectic, Maddening, but Fun"|Current|The Criterion Collection</ref><ref name="filmsite.org"/><ref>Stephanie Rothman, Pioneering Female Director in 1970s Hollywood, Revisited - Air Mail</ref><ref name="bikersoutlawsandmobsters"/> while others like celebrated cinematographer Vilmos Zsigmond worked for lesser-known B movie directors like Ray Dennis Steckler, known for the 1962 Arch Hall Jr. vehicle Wild Guitar<ref>From the Arthouse to the Grindhouse – Google Books (pg.192)</ref> and the 1963 horror musical flick The Incredibly Strange Creatures Who Stopped Living and Became Mixed-Up Zombies.<ref name=GUARDIAN2>Template:Cite news</ref> This, together with the breakdown of the Hays Code<ref name="newhollywoodbackstage">New Hollywood: Movies, Directors, and Influences of the Era|Backstage</ref><ref name="styleofsleaze"/> following the Freedman v. Maryland court case in 1965 and the new ratings system in 1968<ref>'Red Dawn' Ushered in the PG-13 Era in 1984 – The Hollywood Reporter</ref><ref name="thedetective1968"/> (reflecting growing market segmentation) set the scene for the New Hollywood.<ref>Template:Harvp</ref>

Bonnie and Clyde and The Graduate

A defining film of the New Hollywood generation was Bonnie and Clyde (1967).<ref name="ST">Template:Cite web</ref> Produced by and starring Warren Beatty and directed by Arthur Penn, its combination of graphic violence and humor, as well as its theme of glamorous disaffected youth, was a hit with audiences. The film eventually won Academy Awards for Best Supporting Actress (Estelle Parsons)<ref>Template:Cite web</ref> and Best Cinematography.<ref>Template:Cite web</ref><ref>Template:Cite web</ref>

When Jack L. Warner, then-CEO of Warner Bros., first saw a rough cut of Bonnie and Clyde in the summer of 1967, he hated it. Distribution executives at Warner Brothers agreed, giving the film a low-key premiere and limited release. Their strategy appeared justified when Bosley Crowther, middlebrow film critic at The New York Times, gave the movie a scathing review. "It is a cheap piece of bald-faced slapstick comedy," he wrote, "that treats the hideous depredations of that sleazy, moronic pair as though they were as full of fun and frolic as the jazz-age cut-ups in Thoroughly Modern Millie..." Other notices, including those from Time and Newsweek magazines, were equally dismissive.<ref name="newwave">Template:Cite web</ref>

Its portrayal of violence and ambiguity in regard to moral values, and its startling ending, divided critics. Following one of the negative reviews, Time magazine received letters from fans of the movie, and according to journalist Peter Biskind, the impact of critic Pauline Kael in her positive review of the film (October 1967, New Yorker) led other reviewers to follow her lead and re-evaluate the film (notably Newsweek and Time).<ref>Template:Harvp</ref> Kael drew attention to the innocence of the characters in the film and the artistic merit of the contrast of that with the violence in the film: "In a sense, it is the absence of sadism — it is the violence without sadism — that throws the audience off balance at Bonnie and Clyde. The brutality that comes out of this innocence is far more shocking than the calculated brutalities of mean killers." Kael also noted the reaction of audiences to the violent climax of the movie, and the potential to empathize with the gang of criminals in terms of their naiveté and innocence reflecting a change in expectations of American cinema.<ref>Pauline Kael, "Bonnie and Clyde" in, Pauline Kael, For Keeps (Plume, New York, 1994) pp. 141–57. Originally published in The New Yorker, October 21, 1967</ref>

The cover story in Time magazine in December 1967, celebrated the movie and innovation in American New Wave cinema. This influential article by Stefan Kanfer claimed that Bonnie and Clyde represented a "New Cinema" through its blurred genre lines, and disregard for honored aspects of plot and motivation, and that "In both conception and execution, Bonnie and Clyde is a watershed picture, the kind that signals a new style, a new trend."<ref name="Time"/> Biskind states that this review and turnaround by some critics allowed the film to be re-released, thus proving its commercial success and reflecting the move toward the New Hollywood.<ref>Template:Harvp</ref> The impact of this film is important in understanding the rest of the American New Wave, as well as the conditions that were necessary for it.

Also released the same year was another era-defining hit about the celebration of youthful rebellion The Graduate, starring Dustin Hoffman, with soundtrack by the popular folk duo Simon & Garfunkel<ref name="mubi.com"/><ref name="15bestmoviesongs"/><ref name="rediscover"/> and directed by Mike Nichols (for which he won the film's sole Oscar for Best Director), about Benjamin, a young college graduate rejecting the traditional values of his parents and their hypocritical society alongside a future in "plastics".<ref name="digitalhistory"/><ref>10 Best English Movies Influenced By The French New Wave – Screen Rant</ref>

These initial successes paved the way for the studio to relinquish almost complete control to these innovative young filmmakers. In the mid-1970s, idiosyncratic, startlingly original films such as Paper Moon, Dog Day Afternoon, Chinatown, and Taxi Driver, among others, enjoyed enormous critical and commercial success. These successes by the members of the New Hollywood led each of them in turn to make more and more extravagant demands, both on the studio and eventually on the audience.

Characteristics

File:Bonnie and Clyde (1967 promo photo - Dunaway & Beatty).jpg

Bonnie and Clyde (1967)

File:Zombies NightoftheLivingDead.jpg

Night of the Living Dead (1968)

File:Discovery One from trailer of 2001 A Space Odyssey (1968).png

2001: A Space Odyssey (1968)

The new generation of Hollywood filmmakers was most importantly, from the studios' view, young, therefore able to reach the youth audience they were losing. This collective of actors, screenwriters and directors, dubbed the "New Hollywood" by the press, briefly changed the business from the producer-driven Hollywood system of the past as Todd Berliner has written about the period's unusual narrative practices.<ref name="quackser"/>

The 1970s, Berliner says, marks Hollywood's most significant formal transformation since the conversion to sound film and is the defining period separating the storytelling modes of the studio era and contemporary Hollywood. New Hollywood films deviate from classical narrative norms more than Hollywood films from any other era or movement. Their narrative and stylistic devices threaten to derail an otherwise straightforward narration. Berliner argues that five principles govern the narrative strategies characteristic of Hollywood films of the 1970s:

• Seventies films show a perverse tendency to integrate, in narrative incidental ways, story information and stylistic devices counterproductive to the films' overt and essential narrative purposes.
• Hollywood filmmakers of the 1970s often situate their film-making practices in between those of classical Hollywood and those of European and Asian art cinema.
• Seventies films prompt spectator responses more uncertain and discomforting than those of more typical Hollywood cinema.
• Seventies narratives place an uncommon emphasis on irresolution, particularly at the moment of climax or in epilogues, when more conventional Hollywood movies busy themselves tying up loose ends.
• Seventies cinema hinders narrative linearity and momentum and scuttles its potential to generate suspense and excitement.<ref>Template:Harvp</ref>

Seventies cinema also dealt with female identity in the era of second wave feminism, masculine crises featuring flawed male characters, downbeat conclusions and pessimistic subject mattersTemplate:Refn alongside emotional realism in female identity stories,<ref>Essential Cinema: On Our Way to Where: Women of '70s Cinema|Austin Film Society</ref> negative attitudes toward authoritative institutions and other aspects of American life<ref name="hollywoodandbabyboom"/><ref>Nixonland: Horror in the Vietnam Era – TRYLON</ref> and hard-nosed depictions of an America reeling from tense conflicts like The Vietnam War and President Richard Nixon's Watergate scandal.<ref name="americannightmare">Nightmare Movies: Horror on Screen Since the 1960s – Google Books (pgs.379-381)</ref><ref name="shadowcinemaofamerican70s"/><ref name="sept2025"/> Some New Hollywood titles like Hopper's acid western<ref name="LSD"/> The Last Movie and Brian De Palma's musical Phantom of the Paradise had more eccentric characteristics including indulgent storylines and dizzying disregard of genre conventions.<ref>Eccentric Cinema: Overlooked Oddities and Ecstasies, 1963–82|BAMPFA</ref>

Thomas Schatz points to another difference with the Hollywood Golden Age, which deals with the relationship of characters and plot. He argues that plot in classical Hollywood films (and some of the earlier New Hollywood films like The Godfather) "tended to emerge more organically as a function of the drives, desires, motivations, and goals of the central characters". However, beginning with mid-1970s, he points to a trend that "characters became plot functions".<ref>Template:Harvp</ref>

During the height of the studio system, films were made almost exclusively on set in isolated studios. The content of films was limited by the Motion Picture Production Code, and though golden-age film-makers found loopholes in its rules, the discussion of more taboo content through film was effectively prevented. The shift towards a "new realism" was made possible when the Motion Picture Association of America film rating system was introduced and location shooting was becoming more viable. New York City was a favorite spot for this new set of filmmakers due to its gritty and grimy atmosphere.<ref>Template:Cite web</ref><ref name="fordtocity"/><ref name="amny70s"/><ref>How the Movies Captured Times Square's Grimy Golden Age|Current|The Criterion Collection</ref><ref>Wild on New York's Streets – Shepherd Express</ref>

Because of breakthroughs in film technology (e.g. the Panavision Panaflex camera, introduced in 1972; the Steadicam, introduced in 1976), the New Hollywood filmmakers could shoot 35mm camera film in exteriors with relative ease. Since location shooting was cheaper (no sets need to be built) New Hollywood filmmakers rapidly developed the taste for location shooting, resulting in a more naturalistic approach to filmmaking, especially when compared to the mostly stylized approach of classical Hollywood musicals and spectacles made to compete with television during the 1950s and early 1960s. The documentary films of D.A. Pennebaker, Emile de Antonio, the Maysles Brothers and Frederick Wiseman, among others, also influenced filmmakers of this era.<ref name="Filmmuseum - Program SD">Template:Cite web</ref><ref name="dochistories"/>

However, in editing, New Hollywood filmmakers adhered to realism more liberally than most of their classical Hollywood predecessors, often using editing for artistic purposes rather than for continuity alone, a practice inspired by European art films and classical Hollywood directors such as D. W. Griffith and Hitchcock. Films with unorthodox editing included Easy RiderTemplate:'s use of jump cuts (influenced by the works of experimental collage filmmaker Bruce Conner)<ref>Template:Cite news</ref><ref>Template:Cite web</ref><ref>Template:Cite web</ref> to foreshadow the climax of the movie, as well as subtler uses, such as those to reflect the feeling of frustration in Bonnie and Clyde, the subjectivity of the protagonist in The Graduate and the passage of time in the famous match cut from 2001: A Space Odyssey.<ref>Template:Harvp</ref><ref>Template:Cite web</ref> Dense sound design was also commonplace during this era.<ref>Simultaneous Tensions: The Duo-Vision of Wicked, Wicked – Art & Trash</ref>

Also influential were the works of experimental and structural filmmakers Arthur Lipsett,<ref>Template:Cite web</ref> Stan Brakhage,<ref name="rosenbaum"/> Bruce Baillie,<ref>Template:Cite news</ref> Jordan Belson,<ref name="atacrossroads">Stanley Kubrick, at the Crossroads of a Work – La cinémathèque française</ref><ref name="kubricksspaceodyessey"/> John Whitney,<ref name="kubricksspaceodyessey">Kubrick's Space Odyssey – Museum of the Moving Image</ref> Scott Bartlett,<ref>Scott Bartlett: The Meaning of the Universe – Spectacle Theater</ref> Maya Deren,<ref name="hownewhollywoodcreatedamericanindie"/> Andy Warhol,<ref name="Filmmuseum - Program SD"/> Michael Snow and Kenneth Anger<ref name="rosenbaum"/> with their combinations of music and imagery and each were cited by George Lucas, Francis Ford Coppola and Martin Scorsese as influences.<ref>Template:Cite web</ref><ref name="hownewhollywoodcreatedamericanindie">Watch: How New Hollywood Created the American Indie – No Film School</ref> The New Hollywood generation of directors and screenwriters (each educated at either USC, UCLA, NYU and AFI<ref name="postfordist"/>) such as Coppola, Lucas, Scorsese, Steven Spielberg, John Milius and Paul Schrader<ref>Template:Cite book</ref> were sometimes jokingly labeled as "Movie Brats" or "Young Turks".<ref>Template:Cite news</ref>

The end of the production code enabled New Hollywood films to feature anti-establishment political themes, the use of rock music, and sexual freedom deemed "counter-cultural" by the studios.<ref>Template:Harvp</ref> The youth movement of the 1960s turned anti-heroes like Bonnie and Clyde and Cool Hand Luke into pop-culture idols, and Life magazine called the characters in Easy Rider "part of the fundamental myth central to the counterculture of the late 1960s."<ref name="Monaco_182_188">Template:Harvp</ref> Easy Rider also affected the way studios looked to reach the youth market.<ref name="Monaco_182_188"/> The success of Midnight Cowboy, in spite of its "X" rating, was evidence for the interest in controversial themes at the time and also showed the weakness of the rating system and segmentation of the audience.<ref>Template:Harvp</ref>

Interpretations on defining the movement

For Peter Biskind, the new wave was foreshadowed by Bonnie and Clyde and began in earnest with Easy Rider. Biskind's book Easy Riders, Raging Bulls argues that the New Hollywood movement marked a significant shift towards independently produced and innovative works by a new wave of directors, but that this shift began to reverse itself when the commercial success of Jaws and Star Wars led to the realization by studios of the importance of blockbusters, advertising and control over production (even though the success of The Godfather was said to be the precursor to the blockbuster phenomenon).<ref>Template:Harvp</ref><ref>Template:Cite web</ref>

Writing in 1968, critic Pauline Kael argued that the importance of The Graduate was in its social significance in relation to a new young audience, and the role of mass media, rather than any artistic aspects. Kael argued that college students identifying with The Graduate were not too different from audiences identifying with characters in dramas of the previous decade.<ref>Pauline Kael, "Trash, Art, and the Movies" in Going Steady, Film Writings 1968–69, Marion Boyers, New York, 1994, pp. 125–7</ref> She also compared this era of cinema to "tangled, bitter flowering of American letters in the 1850s".<ref name="whenmoviesmattered"/>

Filmmaker Quentin Tarantino identified in his 2022 book Cinema Speculation that:<ref name="onemoviekilledthe80s"/>

"regular moviegoers were becoming weary of modern American movies. The darkness, the drug use, the embrace of sensation-the violence, the sex, and the sexual violence. But even more than that, they became weary of the anti-everything cynicism... Was everything a bummer? Was everything a drag? Was every movie about some guy with problems?"

In 1980, film historian/scholar Robert P. Kolker examined New Hollywood film directors in his book A Cinema of Loneliness: Penn, Kubrick, Coppola, Scorsese, Altman, and how their films influenced American society of the 1960s and 1970s.<ref>Template:Cite journal</ref> Kolker observed that "for all the challenge and adventure, their films speak to a continual impotence in the world, an inability to change and to create change."<ref>Template:Cite book</ref>

John Belton points to the changing demographic to even younger, more conservative audiences in the mid 1970s (50% aged 12–20) and the move to less politically subversive themes in mainstream cinema,<ref>Template:Harvp</ref> as did Thomas Schatz, who saw the mid- to late 1970s as the decline of the art cinema movement as a significant industry force with its peak in 1974–75 with Nashville and Chinatown.<ref>Template:Harvp</ref>

Geoff King sees the period as an interim movement in American cinema where a conjunction of forces led to a measure of freedom in filmmaking yet also pointed out that scholarships about the era tend to center on two versions: the auteur-driven indie and blockbuster eras.<ref>Template:Harvp</ref><ref>Mainstream Maverick: John Hughes and New Hollywood Cinema – Google Books (pg.8)</ref> Todd Berliner says that 70s cinema resists the efficiency and harmony that normally characterize classical Hollywood cinema and tests the limits of Hollywood's classical model.<ref>Template:Harvp</ref>

According to author and film critic Charles Taylor (Opening Wednesday at a Theater or Drive-In Near You), he stated that "the 1970s remain the third — and, to date, last — great period in American movies".<ref name="npr.org">Template:Cite web</ref> Author and film critic David Thomson also shared similar sentiments to the point of dubbing the era "the decade when movies mattered".<ref name="whenmoviesmattered"/>

Video essayist Leigh Singer wrote that this celebrated period revered the epic dramas and serious state-of-the-nation addresses "made by homebred auteurs" (The Last Picture Show, The Godfather, Chinatown, Nashville, Network and Taxi Driver) over less respectable genre pictures.<ref name="onceuponapairofwheels"/>

Author A.D. Jameson (I Find Your Lack of Faith Disturbing), on the other hand, claimed that Star Wars was New Hollywood's finest achievement that actually embodied the characteristics of the respected "serious, sophisticated adult films" while questioning the often-told critical narrative of said "last great decade of American cinema".<ref name="starwarskillamericancinema">Template:Cite web</ref><ref>Template:Cite news</ref>

Author Julie A. Turnock, in her book Plastic Reality, stated that one common explanation as to why both Star Wars and Close Encounters succeeded was that each film offered hopeful optimism for troubling times as opposed to the "doom and gloom" cinema of the era that audiences were getting tired of with emphasis on mistrust in authority, pessimistic and fatalistic views of the future and anti-heroic aimlessness.<ref>Plastic Reality: Special Effects, Technology, and the Emergence of 1970s Blockbuster Aesthetics - Google Books (pg.194)</ref>

Nathan Rabin, writing for an article commemorating the movie's 40th anniversary at Boston.com in 2015, contested that Jaws, despite being labeled by conventional wisdom as the film that killed the quirky New Hollywood, didn't feel like one by today's vantage point.<ref>Remembering ‘Jaws,’ the 1970s movie that helped kill the 1970s movie – Boston.com</ref>

Austrian Film Museum, which held a 2013 program entitled The Real Eighties featuring some New Hollywood titles like The King of Comedy, Blow Out and American Gigolo, stated that:<ref name="real80s">The Real Eighties: American Cinema 1980-89 – Filmmuseum – Program SD</ref>

All ills spring from the 1980s. A transitional decade that witnessed the film industry’s restructuring along the lines of President Reagan’s neoliberal agenda, the eighties did away with the last remnants of New Hollywood while laying the foundations for today’s High Concept wasteland – thus goes an all too familiar tale of decline. The retrospective The Real Eighties questions this commonplace of film history and sides with the mainstream of Hollywood cinema: filmic realisms of the 1980s – in immediate proximity to the dream factories of Steven Spielberg or George Lucas, yet at odds with the decade’s political and aesthetic imperatives – await rediscovery.

Daniel Joyaux, writing for Roger Ebert.com on the Criterion Collection's 2024 release of the 1983 Tom Cruise classic Risky Business, shared similar concerns:<ref name="daringfilmsof80s"/>

There’s a long-held belief about Hollywood history that, from basically the moment “Heaven’s Gate” nearly bankrupted United Artists in 1980 to the moment “Sex, Lies, and Videotape” kicked off the indie boom of the ‘90s, studio executives had an almost pathological aversion to any movie with artistic ambition. There’s at least some truth to this, and seminal texts like Peter Biskind’s 1998 book Easy Riders, Raging Bulls have cooked those kernels of truth into a full-blown mythologizing of ‘70s and ‘90s Hollywood, while the ‘80s remain largely dismissed as a creative wasteland.

Steven Hyden, writing for Grantland, called the Movie Brats the "cinematic version" of classic rock, to the point of roll calling Spielberg as the Beatles, Scorsese as the Velvet Underground, Coppola as Bob Dylan, Lucas as Pink Floyd, Robert Altman as Neil Young, Brian De Palma as Led Zeppelin, Bogdanovich as the Beach Boys and Hal Ashby as the Kinks.<ref name="oldnewhollywood"/>

Paul Thomas Anderson's 1997 film Boogie Nights, about the the "golden age" of the adult film industry, can be seen as an allegory tracking down the demise of this era.<ref>Boogie Nights in 35mm – TRYLON</ref>

Criticism

Los Angeles Times article film critic Manohla Dargis described New Hollywood as the "halcyon age" of 1970s filmmaking, that "was less revolution than business as usual, with rebel hype".<ref name="LATimes">Template:Cite news</ref> She also pointed out in her New York Times article that the era's enthusiasts insist this was "when American movies grew up (or at least starred underdressed actresses); when directors did what they wanted (or at least were transformed into brands); when creativity ruled (or at least ran gloriously amok, albeit often on the studio's dime)."<ref name="nytimes.com">Template:Cite news</ref>

Molly Haskell, in her book From Reverence to Rape: The Treatment of Women in the Movies, described how this era of cinema "with its successive revelations, progressed like a stripper, though awkwardly—like a novice in a hurry to get off the stage".<ref>Star Bodies and the Erotics of Suffering – Google Books (pg.273)</ref>

This era was also infamous for its excessive decadence and on-set mishaps (as was the case for Apocalypse Now when the tumultuous production was documented by Eleanor Coppola which in turn became her 1991 documentary Hearts of Darkness: A Filmmaker's Apocalypse).Template:Refn Incidents plaguing the behind-the-scenes of some of the horror films from this era (such as Rosemary's Baby, The Exorcist, Twilight Zone: The Movie, Poltergeist and The Omen) were also the subjects for the docuseries Cursed Films.Template:Refn Even Spielberg, who co-directed/co-produced Twilight Zone with John Landis, was so disgusted by the latter's handling of a deadly helicopter accident that resulted in the death of three actors, that he ended their friendship and publicly called for the end of New Hollywood.<ref name="greatmonthfortwilightzonefans"/> (De Palma and Friedkin shared similar sentiments about the crash.<ref>Death of the Set of the Twilight Zone Movie – Los Angeles Times on YouTube</ref>) When approached by the press about the accident, he stated:<ref name="gulfnews.com">Template:Cite web</ref>

"No movie is worth dying for. I think people are standing up much more now, than ever before, to producers and directors who ask too much. If something isn't safe, it's the right and responsibility of every actor or crew member to yell, 'Cut!'

Turner Classic Movies personality John Malahy, in his book Rewinding the '80s,<ref>Rewinding The '80s: Cinema Under the Influence of Music Videos, Action Stars, and a Cold War – Google Books</ref> noted that a growing problem with this era was the director's ego spending millions on elaborate cinematic dreams that almost no one shared (e.g. Cimino's Heaven's Gate).<ref>Time to Rewind the '80s? – Shepherd Express</ref>

The Golden Raspberry Awards (better known as The Razzies) emerged during the twilight of this era dishonoring productions such as Freidkin's Cruising and Cimino's Heaven's Gate alongside two megamusicals responsible for setting up the awards Xanadu and Can't Stop the Music (the latter would eventually be crowned the first recipient of Golden Raspberry Award for Worst Picture).<ref>Trash and Treasure at the Razzies|Current|The Criterion Collection</ref><ref>‘Xanadu’ Was So Bad It Launched the Razzies in 1980 – The Hollywood Reporter</ref>

Legacy

The films of New Hollywood influenced future mainstream<ref name="starwarskillamericancinema"/> and independent filmmakers such as Tarantino, Edgar Wright, Paul Thomas Anderson and Noah Baumbach.<ref name="67to80"/><ref name="oldnewhollywood"/><ref name="onceuponapairofwheels">"Once upon a pair of wheels"... Edgar Wright on Baby Driver and the classic car movies|BFI</ref> Todd Phillips's 2019 DC Comics adaptation Joker, alongside the film's period setting, was inspired by the Martin Scorsese classics Taxi Driver and The King of Comedy<ref>Why The Joker Movie Is A Period Piece Set in Late 1970s and Early 1980s – Screen Rant</ref> while Alexander Payne's 2023 film The Holdovers took inspiration from Ashby's works.<ref>'The Holdovers' Gave Us Everything We Love About 1970s Movies|Collider</ref> Tarantino's 2019 Academy Award-winning Once Upon a Time in Hollywood lamented the end of the Golden Age while signalling the beginning of this era.<ref>Quentin Tarantino has written his resignation letter with Once Upon a Time in Hollywood – ABC News</ref> The Godfather Part III; Texasville; and The Two Jakes—each released in 1990—count as "sequels" to three New Hollywood classics, respectively: The Godfather Part II; The Last Picture Show; and Chinatown. (The sequels were directed respectively by Francis Ford Coppola; Peter Bogdanovich; and Jack Nicholson, who played the lead in Polanski's 1974 neo-noir and reprises his role here.)<ref name="filmmuseum.at"/><ref>The Godfather III is a Secret Masterpiece If You Watch the Right Version (& It Has a New Streaming Home) – CBR</ref>

They also influenced both the Poliziotteschi genre films in Italy<ref>Template:Cite web</ref><ref name="wcNH3"/> and a decade later the Cinéma du look movement in France.<ref>Template:Cite web</ref> The narrative for the 1983 British shot-on-video film Suffer Little Children was influenced in part by Brian De Palma's Carrie and John Carpenter's Halloween.<ref>The Right Place: Martyrs and Monsters in Suffer Little Children – Art & Trash</ref>

American Eccentric Cinema has been noted as influenced by this era.<ref name="AE"/> Both traditions have similar themes and narratives of existentialism and the need for human interaction.<ref name="AE"/> New Hollywood focuses on the darker elements of humanity and society within the context of the American Dream in the mid-1960s to the early 1980s,<ref name="AE"/> with themes that were reflective of sociocultural issues and were centered around the potential meaninglessness of pursuing the American Dream as generation upon generation was motivated to possess it.<ref name="AE"/> In comparison, American Eccentric Cinema does not have a distinct context, its films show characters who are very individual and their concerns are very distinctive to their own personalities.<ref name="AE">Template:Cite book</ref>

The New American Cinema has also been ripe for parody as in Peter Jackson's 1989 Muppet satire Meet the Feebles (spoofing the Russian Roulette scene from The Deer Hunter);<ref>Peter Jackson's Savage 'Meet the Feebles' Invented the Offensive Puppet Shocker - Bloody Disgusting</ref> Ernie Fosselius's spoofs Hardware Wars (1978)<ref>Template:Citation</ref> and Porklips Now (1980);<ref>Template:Cite book</ref> Jim Reardon's cult 1986 animated student film Bring Me the Head of Charlie Brown, spoofing Taxi Driver, The Wild Bunch, and Bring Me the Head of Alfredo Garcia;<ref>Bring Me the Head of Charlie Brown (audio commentary) (Art & Trash miniature 21) - Art & Trash on Vimeo</ref> and Canadian video artist Todd Graham's 1987 cult fan film Apocalypse Pooh, a bizarrely comedic mash-up of Disney's Winnie the Pooh and Coppola's Apocalypse Now.<ref>The Accidental Father of Mashup Culture: Jim Knipfel on Todd Graham and Apocalypse Pooh - Believer Magazine</ref><ref>Apocalypse Pooh & 7 Other All-Time Great Fan-Made Movie Mashups - Screen Rant</ref><ref>Todd Graham's Apocalypse Pooh in CBC Toronto 1991 Entertainment News Segment - Todd Graham on YouTube</ref>

Figures of the movement

Actors

• Brooke Adams<ref name="hadtherightstuff"/><ref name="pulled off the impossible"/>
• Alan Alda<ref name="sametimenextyear"/>
• Karen Allen<ref name="splitimage"/>
• Nancy Allen<ref name="newhollywoodthrillers"/><ref name="iwilldumppigsbloodoncarrie"/>
• Woody Allen<ref name="msn.com">Template:Cite web</ref><ref name="jewishnewwave"/>
• Susan Anspach<ref name="susananspach">Template:Cite magazine</ref><ref name="inlimbo"/>
• Alan Arkin<ref name="jewishnewwave"/>
• René AuberjonoisTemplate:Refn
• Dan Aykroyd<ref name="greatmonthfortwilightzonefans"/>
• Joe Don Baker<ref>Joe Don Baker Dead: 'Walking Tall' Star Was 89 – The Hollywood Reporter</ref>
• Anne Bancroft<ref name="bikersoutlawsandmobsters"/>
• Ned Beatty<ref name="flickchart4">Template:Cite web</ref>
• Warren BeattyTemplate:Refn
• Richard Benjamin<ref name="jewishnewwave"/>
• Tom Berenger<ref name="namexperience"/>
• Karen BlackTemplate:Refn
• Linda Blair<ref name="newhollywoodhorror"/>
• Timothy Bottoms<ref name="americannightmare"/>
• Peter Boyle<ref name="flickchart.com"/>
• Marlon BrandoTemplate:Refn
• Beau Bridges<ref name="AMERICAN NEW WAVE CINEMA Part Three 1971">Template:Cite web</ref>
• Jeff Bridges<ref name="UM"/><ref name="real80s"/>
• Albert BrooksTemplate:Refn
• Mel Brooks<ref>Template:Cite web</ref><ref name="jewishnewwave"/>
• Richard Burton<ref name="bikersoutlawsandmobsters"/>
• Ellen Burstyn<ref name="msn.com"/>
• James CaanTemplate:Refn
• John Candy<ref>Template:Cite web</ref>
• David Carradine<ref name="msn.com"/>
• Keith Carradine<ref name="flickchart5">Template:Cite web</ref>
• Diahann Carroll<ref name="andtheblacklist"/>
• John Cassavetes<ref name="newhollywoodthrillers"/><ref name="ruby"/>
• John Cazale<ref name="E54E4D88 The Conversation 1974">Template:Cite web</ref>
• Julie Christie<ref name="AMERICAN NEW WAVE CINEMA Part Three 1971"/><ref name="altmanthenewhollywoodyears"/>
• Candy ClarkTemplate:Refn
• Jill Clayburgh<ref name="broadwayworld.com">Template:Cite web</ref>
• Glenn Close<ref name="according2garp"/>
• Sean Connery<ref name="msn.com"/>
• Bud Cort<ref name="theguardian.com">Template:Cite web</ref>
• Bill Cosby<ref name="betrayal"/>
• Brian Cox<ref name="godfather of movie gamblers"/>
• Tom Cruise<ref name="brokawNH"/>
• Jamie Lee Curtis<ref name="filmsite.org"/>
• Willem Dafoe<ref name="namexperience"/>
• Bruce Davison<ref name="lastsummer"/><ref name="FOOTNOTEThompsonBordwell2003515"/>
• Ruby Dee<ref name="sixtiescrackup"/>
• Brian Dennehy<ref name="splitimage"/>
• Sandy Dennis<ref name="altmancompanion"/>
• Robert De Niro<ref name="msn.com"/>
• Bruce Dern<ref name="filmsite.org"/><ref name="momapsychout"/>
• Danny DeVito<ref name="whatculture.com">Template:Cite web</ref>
• Matt Dillon<ref name="outsiders"/>
• Ivan Dixon<ref name="revolutionin35mm"/>
• Melvyn Douglas<ref name="1963nh"/>
• Michael Douglas<ref name="msn.com"/><ref name="betrayal"/>
• Brad Dourif<ref name="whatculture.com"/>
• Richard DreyfussTemplate:Refn
• Faye Dunaway<ref name="msn.com"/><ref name="1981underrated?"/>
• Robert DuvallTemplate:Refn
• Shelley DuvallTemplate:Refn
• Clint Eastwood<ref name="msn.com"/><ref name="lostmenfoundwomen"/>
• Peter Falk<ref name="Personal Criticism|The New Yorker">Template:Cite magazine</ref>
• Mia Farrow<ref name="newhollywoodthrillers"/>
• Sally Field<ref name="betrayal"/><ref name="brokawNH"/>
• Jane FondaTemplate:Refn
• Peter FondaTemplate:Refn
• Harrison Ford<ref name="msn.com"/>
• Jodie Foster<ref name="msn.com"/><ref name="sept2025"/>
• Teri GarrTemplate:Refn
• Ben Gazzara<ref name="Personal Criticism|The New Yorker"/>
• Richard Gere<ref name="flickchart6">Template:Cite web</ref><ref name="hadtherightstuff"/>
• Jeff Goldblum<ref name="pulled off the impossible"/>
• Elliott GouldTemplate:Refn
• Lee Grant<ref>Template:Cite web</ref><ref name="andtheblacklist"/>
• Charles Grodin<ref name="lostmenfoundwomen"/><ref name="jewishnewwave"/>
• Pam Grier<ref name="blackpower">Black Power, Blaxploitation, & The Sounds of the Seventies ‹ CrimeReads</ref><ref name="styleofsleaze">The Style of Sleaze: The American Exploitation Film, 1959–1977 (2018) – Offscreen</ref>
• Gene HackmanTemplate:Refn
• Anthony Michael Hall<ref name="johnhughesNH" />
• Mark Hamill<ref name="starwarskillamericancinema"/><ref name="msn.com"/>
• Jessica Harper<ref name="70sromcomsranked"/>
• Goldie Hawn<ref name="msn.com"/>
• John Heard<ref name="betweenlines"/><ref name="newhollywoodwomen"/>
• Buck Henry<ref name="buckhenrynewhollywoodrenegade">Rob Sheffield: Buck Henry Was a New Hollywood Renegade – Rolling Stone</ref><ref name="buck Henry appreciation">New and Commentary – Buck Henry: An Appreciation – MidCenturyCinema</ref>
• Barbara Hershey<ref name="lastsummer"/><ref name="tarantinodeadline"/>
• Judd Hirsch<ref name="ordinarypeople"/>
• Dustin HoffmanTemplate:Refn
• Anthony Hopkins<ref name="nicolaswho"/>
• Dennis Hopper<ref>'Road Trip to Nowhere: Hollywood Encounters the Counterculture' Review – Slant Magazine</ref>
• Ron Howard<ref name="filmsite.org"/>
• Rock Hudson<ref name="sixtiescrackup"/>
• John HurtTemplate:Refn
• Mary Beth Hurt<ref name="newhollywoodwomen"/>
• William Hurt<ref name="bodyheat"/>
• Timothy Hutton<ref name="ordinarypeople"/>
• Amy Irving<ref name="newhollywoodthrillers"/>
• Glenda Jackson<ref name="msn.com"/>
• Olivia Newton John<ref name="15bestmoviesongs"/><ref name="broadwayinthebox"/>
• James Earl Jones<ref name="andtheblacklist"/><ref name="msn.com"/>
• Madeline KahnTemplate:Refn
• Carol Kane<ref name="jewishnewwave"/><ref name="70sromcomsranked"/>
• Diane KeatonTemplate:Refn
• Harvey Keitel<ref name="womeninnewhollywood">The Film Comment Podcast: Women in New Hollywood</ref>
• Sally Kellerman<ref name="altmanthenewhollywoodyears"/>
• Margot KidderTemplate:Refn
• Val Kilmer<ref>He's Our Huckleberry: Two Starring Val Kilmer – TRYLON</ref>
• Shirley KnightTemplate:Refn
• Harvey Korman<ref name="yearofmelbrooks"/>
• Kris Kristofferson<ref name="AMERICAN NEW WAVE CINEMA Part Three 1971"/>
• Diane Ladd<ref name="thenation.com">Template:Cite magazine</ref>
• Burt Lancaster<ref name="atlanticcity"/>
• Jessica LangeTemplate:Refn
• Angela Lansbury<ref name="sixtiescrackup"/>
• Piper Laurie<ref name="iwilldumppigsbloodoncarrie">Carrie (Brian De Palma, 1976) – Offscreen</ref><ref name="ruby">Dual Plots, Demon Possession, De Palma: Ruby as Interesting Failure – Offscreen</ref>
• Cloris Leachman<ref name="AMERICAN NEW WAVE CINEMA Part Three 1971"/>
• Bruce Lee<ref name="msn.com"/>
• Janet Leigh<ref name="sixtiescrackup"/>
• Jack Lemmon<ref name="daysofwineandroses"/><ref name="whoknewitcouldbeworse?"/>
• Abbey Lincoln<ref name="revolutionin35mm"/>
• Cleavon LittleTemplate:Refn
• John LithgowTemplate:Refn
• Gary Lockwood<ref name="demyinNH"/>
• Ali MacGraw<ref name="msn.com"/>
• Steve Martin<ref name="brilliant escapist fantasy"/>
• Lee Marvin<ref name="ReturnToNH"/>
• Paul Le Mat<ref name="filmsite.org"/>
• Walter MatthauTemplate:Refn
• Malcolm McDowell<ref name="msn.com"/>
• Steve McQueen<ref name="msn.com"/><ref name="newhollywoodthrillers"/>
• Liza MinnelliTemplate:Refn
• Mary Tyler Moore<ref name="ordinarypeople"/>
• Vic Morrow<ref name="greatmonthfortwilightzonefans"/>
• Zero Mostel<ref name="jewishnewwave"/>
• Tony Musante<ref name="theincident1"/><ref name="theincident2"/>
• Patricia Neal<ref name="1963nh"/>
• Paul NewmanTemplate:Refn<ref>Cool Hand Luke (Stuart Rosenberg, 1967) – Offscreen</ref>
• Jack NicholsonTemplate:Refn<ref>Five Easy Pieces (Bob Rafelson, 1970) – Offscreen</ref>
• Warren Oates<ref name="flickchart.com"/>
• Ryan O'Neal<ref name="msn.com"/><ref name="lostmenfoundwomen"/>
• Tatum O'Neal<ref name="hcl.harvard.edu"/>
• Al PacinoTemplate:Refn
• Dolly Parton<ref name="broadwayinthebox"/>
• Anthony Perkins<ref name="tuesdayperkins"/><ref name="ReturnToNH"/>
• Joe Pesci<ref name="jewishnewwave"/>
• Bernadette Peters<ref name="brilliant escapist fantasy"/>
• Mackenzie Phillips<ref name="filmsite.org"/>
• Sidney PoitierTemplate:Refn
• Michael J. Pollard<ref>Dirty Little Billy|BAMPFA</ref>
• Richard PryorTemplate:Refn
• Randy Quaid<ref name="midnight express"/>
• Robert RedfordTemplate:Refn
• Vanessa Redgrave<ref name="flickchart9">Template:Cite web</ref>
• Christopher Reeve<ref name="honestthoughtsaboutmanofsteel78">It's 2025 ANd I Just Watched 1978's Superman For The First Time – These Are My Honest Thoughts|/Film</ref>
• Carl Reiner<ref name="jewishnewwave"/>
• Lee RemickTemplate:Refn
• Burt Reynolds<ref name="msn.com"/>
• Molly Ringwald<ref name="johnhughesNH" />
• Jason Robards<ref name="flickchart10">Template:Cite web</ref>
• Diana RossTemplate:Refn
• Richard Roundtree<ref name="15bestmoviesongs"/>
• Mickey Rourke<ref name="real80s"/>
• Gena Rowlands<ref name="msn.com"/><ref name="nach1968"/>
• Kurt Russell<ref name="newhollywoodhorror"/>
• Susan Sarandon<ref name="atlanticcity"/>
• Roy ScheiderTemplate:Refn
• George C. Scott<ref name="alansharpobit"/><ref name="fordtocity"/>
• George SegalTemplate:Refn
• Peter SellersTemplate:Refn
• Robert Shaw<ref name="newhollywoodthrillers"/>
• Charlie Sheen<ref name="namexperience"/>
• Martin SheenTemplate:Refn
• Sam ShepardTemplate:Refn
• Cybill Shepherd<ref name="lostmenfoundwomen"/>
• Talia Shire<ref name="lostmenfoundwomen"/><ref name="msn.com"/>
• Paul Simon<ref name="70sromcomsranked"/>
• Frank Sinatra<ref name="thedetective1968"/>
• Tom Skerritt<ref name="flickchart12">Template:Cite web</ref>
• Christian Slater<ref name="christianslater"/>
• Charles Martin Smith<ref name="filmsite.org"/>
• Carrie Snodgress<ref name="Nostalgic">Template:Cite web</ref>
• Sissy SpacekTemplate:Refn
• Sylvester Stallone<ref name="msn.com"/><ref name="newhollywoodthrillers"/>
• Harry Dean StantonTemplate:Refn
• Mary Steenburgen<ref name="flickchart13">Template:Cite web</ref>
• Rod Steiger<ref name="newhollywoodthrillers"/>
• Dean Stockwell<ref name="momapsychout"/>
• Susan Strasberg<ref name="momapsychout"/>
• Meryl Streep<ref name="msn.com"/><ref name="erathatbirthedmodernfilmmaking"/>
• Barbra StreisandTemplate:Refn
• Donald SutherlandTemplate:Refn
• Elizabeth Taylor<ref name="bikersoutlawsandmobsters"/>
• Richard Thomas<ref name="lastsummer"/><ref name="toddkillings"/>
• Lily Tomlin<ref name="flickchart14">Template:Cite web</ref><ref name="msn.com"/>
• Rip TornTemplate:Refn
• John TravoltaTemplate:Refn
• Kathleen Turner<ref name="bodyheat"/>
• Cicely Tyson<ref name="historicalfilm"/>
• Jon VoightTemplate:Refn
• Christopher WalkenTemplate:Refn
• Jessica WalterTemplate:Sfn<ref name="thegroupfilm"/>
• Sam Waterston<ref name="bad cinema"/>
• Sigourney Weaver<ref name="whatculture">Template:Cite web</ref>
• Tuesday WeldTemplate:Refn* Gene WilderTemplate:Refn* Billy Dee Williams<ref name="lostmenfoundwomen"/><ref name="celebratedera"/>
• Cindy Williams<ref name="filmsite.org"/>
• Paul Williams<ref name="70sromcomsranked"/>
• Robin Williams <ref name="mccabeforkids">Harvard Film Archive Revisits Robert Altman's 'Popeye'|WBUR News</ref><ref name="makingofpopeye"/><ref name="according2garp"/>
• Debra Winger<ref name="debrawingermubi">Template:Cite web</ref>* Shelley Winters<ref name="HE"/>
• James Woods<ref name="splitimage"/>Template:Div col end

Directors

• Robert AldrichTemplate:Refn
• Woody AllenTemplate:Refn
• Robert AltmanTemplate:Refn
• Michael Apted<ref name="cmdflickchart">Coal Miner's Daughter (1980) – Flickchart</ref><ref name="disillusionment"/>
• Gregg Araki<ref name="onlocation"/>
• Hal AshbyTemplate:Refn
• Aram Avakian<ref name="demyinNH"/><ref name="disillusionment"/>
• John G. AvildsenTemplate:Refn
• John BadhamTemplate:Refn
• Ralph BakshiTemplate:Refn
• Paul Bartel<ref name="filmsite.org"/><ref name="outsiders"/>
• Saul Bass<ref name="newhollywoodretrospective"/>
• Noah Baumbach<ref name="onlocation"/>
• Michael Bay<ref name="editing81to99"/>
• Robert BentonTemplate:Refn
• Bruce Beresford<ref name="real80s"/><ref name="onlocation"/>
• John BerryTemplate:Refn
• Kathryn BigelowTemplate:Refn
• Peter BogdanovichTemplate:Refn
• John BoormanTemplate:Refn
• James BridgesTemplate:Refn
• Albert Brooks<ref name="paramountinthe70s"/><ref name="real80s"/>
• Mel BrooksTemplate:Refn
• Richard BrooksTemplate:Refn
• Charles BurnettTemplate:Refn
• Tim BurtonTemplate:Refn
• James Cameron<ref name="cameron&hollis"/><ref name="81to99"/>
• John CarpenterTemplate:Refn
• John CassavetesTemplate:Refn
• Joyce Chopra<ref name="adifferentpicture"/><ref name="80soutcasts"/>
• Michael CiminoTemplate:Refn
• Shirley ClarkeTemplate:Refn
• Joel & Ethan Coen<ref name="80soutcasts"/><ref name="newhollywoodneonoirs"/>
• Larry Cohen<ref name="outsiders"/><ref name="filmmuseum.at"/>
• Kathleen Collins<ref name="adifferentpicture"/><ref name="othersideofeightiesamerica"/>
• Martha Coolidge<ref>Unsung Auteurs: Martha Coolidge – Filmink</ref><ref name="adifferentpicture"/>
• Francis Ford CoppolaTemplate:Refn
• Roger CormanTemplate:Refn
• Wes CravenTemplate:Refn
• Michael Crichton<ref name="academia"/><ref name="disillusionment"/>
• David Cronenberg<ref name="americanrevolution"/><ref name="nicolaswho"/>
• Joe DanteTemplate:Refn<ref>The Movie Orgy (1968-197?) – Midnight Only</ref>
• Julie Dash<ref name="adifferentpicture"/>
• Ossie DavisTemplate:Refn
• Jonathan DemmeTemplate:Refn
• Brian De PalmaTemplate:Refn
• Ivan DixonTemplate:Refn
• Richard Donner<ref name="oldschoolhitmaker">Template:Cite web</ref><ref name="allpowerfuldirector"/>
• Robert Downey Sr.<ref name="filmsite.org"/>
• Bill Duke<ref name="cameron&hollis"/>
• Daryl Duke<ref name="disillusionment"/>
• Clint Eastwood<ref name="real80s"/>
• Blake Edwards<ref name="TVfallacy"/><ref name="disillusionment"/>
• Abel Ferrara<ref name="1981underrated?"/><ref name="drillerkiller"/>
• Richard FleischerTemplate:Refn
• Miloš FormanTemplate:Refn
• Mike Figgis<ref name="cameron&hollis"/>
• David Fincher<ref name="returnedofthereturned">Return of the Return of the Repressed: Notes on the American Horror Film (1991-2006) – Offscreen</ref>
• Bob FosseTemplate:Refn
• Robert Frank<ref name="ANW58to67"/>
• John FrankenheimerTemplate:Refn
• William FriedkinTemplate:Refn
• Samuel FullerTemplate:Refn
• Sidney J. FurieTemplate:Refn
• Haile Gerima<ref name="outsiders"/><ref name="unity resistance and love">Notebook Soundtrack Mix #11: L.A. Rebellion – The Unity, Resistanc, & Love Mixtape on Notebook|MUBI</ref>
• Milton Moses Ginsberg<ref name="letitrun"/>
• Robert Greenwald<ref>Unsung Auteurs: Robert Greenwald – Filmink</ref>
• Ulu GrosbardTemplate:Refn
• Curtis Harrington<ref name="midnightscreamings"/><ref name="nighttide"/>
• Amy Heckerling<ref name="real80s"/><ref name="cameron&hollis"/>
• Monte HellmanTemplate:Refn
• Buck HenryTemplate:Refn
• George Roy HillTemplate:Refn
• Jack Hill<ref name="furious"/>
• Walter HillTemplate:Refn
• Arthur HillerTemplate:Refn
• Tobe Hooper<ref name="filmschoolwtf.com"/><ref name="NH"/>
• Dennis HopperTemplate:Refn
• Ron Howard<ref name="brokawNH"/>
• John Hughes<ref name="johnhughesNH" />
• Faith Hubley<ref name="adifferentpicture"/>
• John HustonTemplate:Refn
• Peter HyamsTemplate:Refn<ref>Unsung Auteurs: Peter Hyams – Filmink</ref>
• Henry JaglomTemplate:Refn
• Jim Jarmusch<ref name="onlocation"/>
• Norman JewisonTemplate:Refn
• Jonathan KaplanTemplate:Refn
• Lawrence KasdanTemplate:Refn
• Philip KaufmanTemplate:Refn
• Elia Kazan<ref name="1963nh"/>
• Irvin KershnerTemplate:Refn
• Randal Kleiser<ref name="historicalfilm"/><ref name="ruby"/>
• Barbara Kopple<ref name="adifferentpicture"/><ref name="disillusionment"/>
• Ted KotcheffTemplate:Refn
• Robert Kramer<ref name="revolutionin35mm">Revolution in 35mm: Political Violence and Resistance in Cinema from the Arthouse to the Grindhouse, 1969-1990 – Google Books (pgs.272-287)</ref><ref name="disillusionment"/>
• Stanley KubrickTemplate:Refn
• John LandisTemplate:Refn
• Tom Laughlin<ref name="enl.auth.gr"/>
• Spike LeeTemplate:Refn
• Richard LesterTemplate:Refn
• Barry Levinson<ref name="brokawNH"/>
• Richard Linklater<ref name="onlocation"/>
• Steven Lisberger<ref name="81to99"/>
• Barbara LodenTemplate:Refn<ref>Wanda (Barbara Loden, 1970) – Offscreen</ref>
• George LucasTemplate:Refn
• Sidney LumetTemplate:Refn
• David LynchTemplate:Refn
• Nelson Lyon<ref>Dialing Wonderland: Nelson Lyon's The Telephone Book – Art & Trash</ref>
• Norman Mailer<ref name="disillusionment"/>
• Terrence MalickTemplate:Refn
• Michael MannTemplate:Refn
• Elaine MayTemplate:Refn
• Paul MazurskyTemplate:Refn
• Jim McBrideTemplate:Refn
• Jonas Mekas<ref name="ANW58to67">Flash Flaherty: Tales from a Film Seminar – Google Books (ch.""BORDING THE FICTION")</ref>
• John MiliusTemplate:Refn
• Robert Mulligan<ref name="otherhollywoodrenaissance"/><ref name="sixtiescrackup"/>
• Floyd Mutrux<ref name="outsiders"/>
• Ronald Neame<ref>The Poseidon Adventure (Ronald Neame, 1972) – Offscreen</ref>
• Hal Needham<ref name="smokeybandit"/>
• Ralph Nelson<ref name="AMERICAN NEW WAVE CINEMA Part Three 1971"/><ref name="1963nh"/>
• Mike NicholsTemplate:Refn
• Alan J. PakulaTemplate:Refn
• Alan ParkerTemplate:Refn
• Gordon ParksTemplate:Refn
• Ivan PasserTemplate:Refn
• Sam PeckinpahTemplate:Refn
• Melvin Van PeeblesTemplate:Refn
• Larry PeerceTemplate:Refn
• Arthur PennTemplate:Refn
• Eagle Pennell<ref name="disillusionment"/>
• Frank PerryTemplate:Refn
• Roman PolanskiTemplate:Refn
• Sydney PollackTemplate:Refn
• Abraham Polonsky<ref name="newhollywoodretrospective"/><ref name="disillusionment"/>
• Ted Post<ref name="newhollywoodretrospective"/><ref name="bad cinema"/>
• Otto Preminger<ref name="1963nh"/><ref name="disillusionment"/>
• Bob RafelsonTemplate:Refn
• Robert Redford<ref name="deadoralive"/><ref name="diedat89"/>
• Julia Reichert<ref name="adifferentpicture"/>
• Rob Reiner<ref name="brokawNH"/>
• Karel ReiszTemplate:Refn
• Michael RitchieTemplate:Refn<ref name="nextbestofredford">The Next Best of Robert Redford – Cinema Sentries</ref>
• Martin RittTemplate:Refn
• Mark Robson<ref name="universal70spt2"/>
• Robert Rodriguez<ref name="returnedofthereturned"/><ref name="onlocation"/>
• Nicolas Roeg<ref name="nicolaswho">"Nicholas Who?" – Offscreen</ref>
• Michael Roemer<ref name="nothingbutaman"/>
• George A. RomeroTemplate:Refn
• Stuart RosenbergTemplate:Refn
• Herbert RossTemplate:Refn
• Stephanie Rothman<ref name="adifferentpicture"/><ref>Unsung Auteurs: Stephanie Rothman – Filmink</ref>
• Alan RudolphTemplate:Refn
• Richard RushTemplate:Refn
• Mark Rydell<ref name="disillusionment"/>
• Richard C. SarafianTemplate:Refn
• John Sayles<ref name="newhollywoodretrospective"/>
• Franklin J. SchaffnerTemplate:Refn
• Jerry SchatzbergTemplate:Refn
• John SchlesingerTemplate:Refn
• Paul SchraderTemplate:Refn
• Michael SchultzTemplate:Refn
• Martin ScorseseTemplate:Refn
• Ridley ScottTemplate:Refn
• Susan Seidelman<ref name="cameron&hollis"/><ref>Desperately Seeking Cinema: director Susan Seidelman on her memoir and old New York · Journal · A Letterboxd Magazine · Letterboxd</ref>
• Don SiegelTemplate:Refn
• Joan Micklin SilverTemplate:Refn
• John Singleton<ref name="bfm"/>
• Kevin Smith<ref name="onlocation"/>
• Steven Soderbergh<ref name="threecasestudies"/><ref name="onlocation"/>
• Penelope SpheerisTemplate:Refn
• Steven SpielbergTemplate:Refn
• Oliver StoneTemplate:Refn
• Barbara Streisand<ref>Why Ishtar Flopped and Changed the Game for Female Directors|Indiewire</ref>
• Mel StuartTemplate:Refn
• James Toback<ref name="jstor.org">Template:Cite book</ref><ref name="disillusionment"/>
• Douglas Trumbull<ref name="bad cinema"/>
• Gus Van Sant<ref name="onlocation"/>
• Paul Verhoeven<ref name="real80s"/>
• Michael Wadleigh<ref name="werewolfyear">Hollywood's Werewolf Year|The Saturday Evening Post</ref>
• John Waters<ref name="pinkflamingos"/><ref>Soundtrack Mix #14: Dirty and Divine – An Ode to John Waters on Notebook|MUBI</ref>
• Peter Watkins<ref name="punishmentpark"/><ref>Mockumentary in the Hands of Peter Watkins – Offscreen</ref>
• Claudia WeillTemplate:Refn
• Wim Wenders<ref name="80soutcasts"/>
• Haskell Wexler<ref name="filmsite.org"/><ref name="jewishnewwave"/>
• Michael WinnerTemplate:Refn<ref>The Sentinel (1977): Hell on the 5th Floor – Offscreen</ref>
• Frederick Wiseman<ref name="NHrewindHS"/>
• Fronza Woods<ref name="adifferentpicture"/>
• Peter YatesTemplate:Refn
• Robert M. Young<ref name="alambrista"/><ref>Unsung Auteurs: Robert M. Young – Filmink</ref>
• Robert Zemeckis<ref name="onlocation"/>
• Fred Zinnemann<ref name="zinnemann">Template:Cite web</ref>
• David Zucker, Jim Abrahams, & Jerry ZuckerTemplate:Refn

Others

• Dede Allen<ref name="npr">Template:Cite news</ref><ref name="sixtiescrackup"/>
• Irwin AllenTemplate:Refn
• John Alcott<ref name="tasteofcinema.com">Template:Cite web</ref><ref name="atacrossroads"/>
• Nestor Almendros<ref name="enl.auth.gr"/>
• John A. Alonzo<ref name="enl.auth.gr"/><ref name="revisitedfilmnoir">A revisited film-noir in color with Chinatown – Velvet Eyes</ref>
• Steven BachTemplate:Refn
• Burt Bacharach<ref name="15bestmoviesongs"/>
• Scott Bartlett<ref>DVD Savant Review: More American Graffiti</ref>
• Elaine & Saul Bass<ref>Seconds (1966) – Art of the Title</ref>
• Elmer Bernstein<ref name="trippinoneggshells">Notebook Soundtrack Mix #12: Trippin' on Eggshells — The Hippie Exploitation Mix on MUBI</ref><ref>Elmer Bernstein: 10 essential soundtracks|BFI</ref>
• Don Bluth<ref>Don Bluth's "Xanadu"|Cartoon Research</ref><ref>Xanadu at 40: a mesmerisingly messy musical failure|Musicals|The Guardian</ref>
• Claude Bolling<ref>California Suite – Claude Bolling|AllMusic</ref>
• Chuck Braverman<ref>Soylent Green (1973) – Art of the Title</ref>
• Jerry Bruckheimer<ref name="brokawNH"/>
• Ben Burtt<ref>Ben Burtt on How Modern Hollywood Has Lost a Sensitivity for Sound, Lightsabers, and the Wilhelm Scream – The Film Stage</ref>
• Gerald Busby<ref name="mubi.com"/>
• Bill Butler<ref>eFilmCritic – Bill Butler, Cinematographer – Profile Interview Series Vol.7</ref>
• William Peter Blatty<ref>Template:Cite web</ref>
• Wendy CarlosTemplate:Refn
• John Carpenter<ref name="carpentersbestscores"/>
• Allan Carr<ref name="betrayal"/><ref name="historicalfilm"/>
• Michael Chapman<ref name="tasteofcinema.com"/>
• Paddy Chayefsky<ref name="nofilmschool">Template:Cite web</ref>
• Robert Chartoff<ref name="deadoralive"/>
• Wang Chung<ref name="toliveanddieinla" />
• Bill Conti<ref name="bestmoviescores">Best movie scores of all time|Classical Music</ref>
• Stewart CopelandTemplate:Refn
• Stanley Cortez<ref name="sixtiescrackup"/>
• Jordan Cronenweth<ref name="timelessimagery"/>
• Sally CruikshankTemplate:Refn
• Hal David<ref name="15bestmoviesongs"/>
• Dino De Laurentiis<ref name="happy35th"/><ref name="godfather of movie gamblers">Dino De Laurentiis: the godfather of movie gamblers|The Guardian</ref>
• Caleb Deschanel<ref>Caleb Deschanel To Receive AFI's 25th Franklin J. Schaffner Medal – Deadline</ref>
• Ernest Dickerson<ref>THE BLACK NEW WAVE OF THE 1990'S WAS BUILT TO LAST|SHOTDECK BLOG</ref><ref name="bfm">Black films matter – how African American cinema fought back against Hollywood|Movies|The Guardian</ref>
• Pino Donaggio<ref name="mubi.com"/><ref name="giallo">Notebook Soundtrack Mix #10: The Black Belly of Giallo on Notebook|MUBI</ref>
• Nancy Dowd<ref name="otherhollywoodrenaissance"/><ref name="67to80"/><ref>Subways, Stains and Santa: on shelves and screens this month · Journal · A Letterboxd Magazine · Letterboxd</ref>
• Tangerine DreamTemplate:Refn
• Bob DylanTemplate:Refn
• Roger Ebert<ref name="theplaylist">Template:Cite web</ref><ref name="mubi.com"/>
• Robert EvansTemplate:Refn
• Pablo FerroTemplate:Refn
• Jules Feiffer<ref name="makingofpopeye">The Making of POPEYE (1980) – Cinema Scholars</ref>
• David Fincher<ref>David Fincher – Art of the Title</ref>
• Pink Floyd<ref name="mubi.com"/>
• William A. Fraker<ref name="latimes">Template:Cite web</ref>
• Tak Fujimoto<ref name="tcm">Template:Cite web</ref>
• Bob Gale<ref name="previewofregeanera"/>
• The Bee Gees<ref name="15bestmoviesongs"/><ref name="broadwayinthebox"/>
• Bo GoldmanTemplate:SfnTemplate:Sfn
• William Goldman<ref name="10classicswedliketoforget"/><ref name="thelastgoodtime" />
• Anthony Goldschmidt<ref>Anthony Goldschmidt – Art of the Title</ref>
• Jerry GoldsmithTemplate:Refn
• Berry Gordy<ref name="lostmenfoundwomen"/><ref name="celebratedera"/>
• Michael Gore<ref>Fame – Michael Gore|MOVIE MUSIC UK</ref>
• Brian Grazer<ref name="brokawNH"/>
• Conrad L. HallTemplate:Refn
• Herbie Hancock<ref name="2025wiscff"/><ref name="cinemarestoredatbam">Cinema, Restored at BAM|Current|The Criterion Collection</ref>
• Bo Harwood<ref>Composing for Cassavetes|Current|The Criterion Collection</ref><ref name="mubi.com"/>
• Issac Hayes<ref name="15bestmoviesongs"/>
• Bernard Herrmann<ref>Notebook Soundtrack Mix #4: "Fragments of the Mirror: The Music of Bernard Herrmann" on Notebook|MUBI</ref>
• Debra Hill<ref name="newhollywoodhorror"/>
• James Horner<ref name="15bestmoviesongs"/>
• Alan Howarth<ref name="carpentersbestscores">Ranking John Carpenter's 10 Best Film Scores|/Film</ref>
• James Wong Howe<ref>James Wong Howe: A Gutsy Cinematographer Finally Gets His Due – The New York Times</ref><ref name="sixtiescrackup"/>
• John Hughes<ref name="real80s"/>
• Willard HuyckTemplate:Refn
• Quincy Jones<ref>Template:Cite web</ref><ref name="blackpower"/>
• Adrien Joyce<ref name="inlimbo"/><ref>Who Is Adrien Joyce? Two Films Penned By Carole Eastman – TRYLON</ref>
• Pauline KaelTemplate:Refn
• Jeff Kanew<ref>Unsung Auteurs: Jeff Kanew – Filmink</ref>
• Gloria Katz<ref name="messiahofevil"/><ref name="rediscover"/>
• Boris Kaufman<ref name="sixtiescrackup"/>
• László Kovács<ref name="newwavefilm">Template:Cite web</ref><ref>Paper Moon: Partners in Crime|Current|The Criterion Collection</ref>
• Bill Kroyer<ref>Bill Kroyer – Art of the Title</ref>
• Alan Ladd Jr.<ref name="betrayal"/>
• Ring Lardner Jr.<ref name="andtheblacklist"/><ref name="trouble in tinseltown"/>
• Michel Legrand<ref>Windmills of Your Mind composer Michel Legrand dies aged 86 – BBC.com</ref><ref>Notebook Soundtrack Mix #5: A Tribute to Michel Legrand on Notebook|MUBI</ref>
• Ernest Lehman<ref name="bikersoutlawsandmobsters"/><ref name="Twilight of American musical"/>
• Boris Leven<ref>Martin Scorsese in 10 Scenes – Google Books (pg.47)</ref>
• Barry Malkin<ref>Barry Malkin Dead: 'The Godfather Part II' Editor Was 80 – Variety</ref><ref name="editing81to99"/>
• David Mamet<ref name="theverdict"/>
• Johnny Mandel<ref>Johnny Mandel Dead: Composer Who Wrote 'MASH' Theme Song Was 94 – Variety</ref>
• Curtis Mayfield<ref name="blackpower"/>
• Larry McMurtry<ref name="Pennell">Eagle Pennell, the Last Cowboy|Current|The Criterion Collection</ref>
• The Monkees<ref name="americandreaming"/>
• Giorgio MoroderTemplate:Refn
• Ennio MorriconeTemplate:Refn
• Robby Müller<ref name="paristexas"/><ref name="toliveanddieinla" />
• Walter Murch<ref name="celebratedera"/><ref name="postfordist"/>
• Hal Needham<ref>The Story Behind The Stunts: Remembering Hollywood's Hal Needham|KCUR</ref>
• David Newman<ref name="demyinNH"/><ref name="rediscover">New Hollywood|reDiscover</ref>
• Randy Newman<ref name="ragtimefilm"/><ref name="happy35th">Happy 35th: Randy Newman, RAGTIME|RHINO</ref>
• Harry NilssonTemplate:Refn
• Jack Nitzsche<ref name="amazon2">Template:Cite web</ref><ref name="unseenangels"/>
• Dan O'Bannon<ref name="fused">Alien|How it fused New Hollywood and the 1980s blockbuster era|Film Stories</ref>
• Van Dyke Parks<ref name="makingofpopeye"/>
• Dan Perri<ref>Dan Perri – Art of the Title</ref>
• Eleanor PerryTemplate:Refn
• Michael & Julia Phillips<ref name="hollywoodandbabyboom"/>
• Polly PlattTemplate:Refn
• Nicolas Roeg<ref name="nicolaswho"/>
• Owen Roizman<ref name="oscars">Template:Cite web</ref>
• Fred Roos<ref name="historicalfilm"/>
• Leonard Rosenman<ref>The Lord of the Rings (1978) – Midnight Only</ref>
• Nino Rota<ref name="bestmoviescores"/><ref name="mubi.com"/>
• Albert S. Ruddy<ref>Albert Ruddy obituary|Movies|The Guardian</ref>
• Alvin Sargent<ref name="ordinarypeople"/>
• Waldo Salt<ref name="andtheblacklist"/><ref name="trouble in tinseltown"/>
• Andrew Sarris<ref name="newwavefilm"/><ref name="newhollywoodrevisited"/>
• John SaylesTemplate:Refn
• Lalo Schifrin<ref>Template:Cite web</ref><ref name="mubi.com"/>
• Bert Schneider<ref>Revisiting an Oscar Night Controversy – in 1975 – UC Press Blog</ref><ref name="demyinNH"/>
• Thelma Schoonmaker<ref>Template:Cite web</ref><ref>Template:Cite web</ref>
• Rod Serling<ref>Two Stark Realities Written by Rod Serling – TRYLON</ref>
• John Patrick Shanley<ref name="brokawNH"/>
• David Shire<ref name="mubi.com"/>
• Ronald Shusett<ref name="fused"/>
• Stirling Silliphant<ref name="newhollywoodthrillers"/>
• Alan Silvestri<ref name="newharmonies"/>
• Simon & GarfunkelTemplate:Refn
• Don Simpson<ref name="brokawNH"/>
• Gene Siskel<ref name="theplaylist"/><ref name="mubi.com"/>
• Terry Southern<ref name="bikersoutlawsandmobsters"/><ref name="inlimbo"/>
• Spirit<ref name="demyinNH"/>
• Ray Stark<ref name="deadoralive"/>
• Cat Stevens<ref name="mubi.com"/>
• Robert Stigwood<ref name="historicalfilm"/>
• Oliver Stone<ref name="midnight express">Silver Screen Streak List #16: 03. Midnight Express (1978) – Media Life Crisis</ref>
• Vittorio Storaro<ref name="tasteofcinema2">Template:Cite web</ref><ref name="postfordist"/>
• Drew Struzan<ref>Drew Struzan Dead: 'Star Wars', 'Indiana Jones' Poster Artist Was 78 – Variety</ref>
• Robert Surtees<ref name="10classicswedliketoforget"/>
• Robert TowneTemplate:Refn
• Donald TrumbullTemplate:Refn
• VangelisTemplate:Refn
• Tom WaitsTemplate:Refn
• Bob Weinstein<ref name="brokawNH"/>
• Harvey Weinstein<ref name="brokawNH"/>
• Haskell Wexler<ref name="newwavefilm.com"/><ref name="sixtiescrackup"/>
• John WilliamsTemplate:Refn<ref>Soundtrack Mix #31: The Symphonies of Storytelling – Steven Spielberg on Notebook|MUBI</ref>
• Paul Williams<ref>A STAR IS BORN (1976) – The Belcourt Theatre</ref><ref>A Star Is Born – Museum of the Moving Image</ref>
• Gordon WillisTemplate:Refn
• John David WilsonTemplate:Refn
• Irwin Winkler<ref name="deadoralive"/>
• David L. Wolper<ref name="Twilight of American musical">Hollywood in Limbo: 1969–1972|Twilight of the American Musical Film|Unframed</ref>
• Frank Yablans<ref name="postfordist">Post-Fordist Cinema: Hollywood Auteurs and the Corporate Counterculture – Google Books (ch. "Introduction The Business of Auteur Theory")</ref>
• Danny Zeitlin<ref name="mubi.com"/><ref name="pulled off the impossible"/>
• Robert Zemeckis<ref name="previewofregeanera">‘Used Cars’ At 40: How The Cynical Black Comedy Became A Preview Of The Reagan Era – The Playlist</ref>
• Vilmos Zsigmond<ref name="afi">Template:Cite web</ref><ref>Template:Cite magazine</ref>

Notable studios associated with New Hollywood

• 20th Century Fox<ref name="newhollywoodhorror"/><ref name="betrayal"/>
• American International PicturesTemplate:Refn<ref>Heavy Traffic (1973) – Midnight Only</ref>
• American ZoetropeTemplate:Refn
• BBS ProductionsTemplate:Refn
• Cannon Films<ref>The Cannon Canon: The Top 20 Cannon Films|Consequence of Sound</ref><ref>Template:Cite web</ref>
• Castle Rock Entertainment<ref name="brokawNH"/>
• Columbia PicturesTemplate:Refn
• Embassy Pictures<ref name="newwavefilm.com"/><ref name="werewolfyear"/>
• Filmways Pictures<ref>Whom God Wishes to Destroy... Francis Coppola and the New Hollywood – Google Books (pg.35)</ref><ref name="newhollywoodthrillers"/>
• Hemdale Film Corporation<ref name="namexperience"/>
• MGM<ref name="newwavefilm"/><ref name="demyinNH"/>
• MiramaxTemplate:Refn
• New Line Cinema<ref name="newlineintro">Maverick Movies: New Line Cinema and the Transformation of American Film – Google Books (pgs.35-42)</ref><ref name="onlocation"/>
• New World Pictures<ref>The Top 50 'New World Pictures' Movies – Flickchart</ref><ref name="newlineintro"/>
• Orion PicturesTemplate:Refn
• Paramount PicturesTemplate:Refn
• United ArtistsTemplate:Refn
• Universal PicturesTemplate:Refn
• Walt Disney Productions<ref name="makingofpopeye"/>
• Warner Bros.Template:Refn

Films of the movement

{{#invoke:Hatnote|hatnote}}{{#ifeq:||}} This is a chronological list of films that are generally considered to be "New Hollywood" productions:

1950s–1960s

1957–1966

• 12 Angry Men (1957)<ref>12 Angry Men: Inside the Jury Room and the Psychology of Persuasion – Google Books (ch."Part 1: A Landmark in the Courtroom – Historical Context and Cultural Significance")</ref> ≈ ≠
• The Strange One (1957)<ref name="thestrangeone">Template:Cite web</ref>
• Sweet Smell of Success (1957)<ref name="sweetsuccess">Template:Cite web</ref> ≈
• The Left Handed Gun (1958)<ref>THE LEFT HANDED GUN|Austin Film Society</ref><ref name="paulnewmanswest">Paul Newman's West presented by Ethan Hawke Series|Austin Film Society</ref>
• Murder by Contract (1958)<ref name="murderbycontract">Template:Cite web</ref>
• Shadows (1958)Template:Refn ≈
• Touch of Evil (1958)<ref name="newhollywoodoldsoul">Template:Cite podcast</ref> ≈
• Anatomy of a Murder (1959)<ref name="anatomymurder">Template:Cite news</ref> ≈
• Come Back, Africa (1959)<ref name="58to67"/>
• Pull My Daisy (1959)<ref name="58to67"/> ≈
• The Savage Eye (1959)<ref name="58to67"/>
• Skyscraper (1959)<ref name="filmtheory"/>
• The Apartment (1960)<ref name="newhollywoodoldsoul"/> ≈ ≠
• Let No Man Write My Epitaph (1960)<ref name="writemyepitaph">Template:Cite web</ref>
• Private Property (1960)<ref name="privateproperty">Template:Cite web</ref>
• Primary (1960)<ref name="filmtheory">Influence of New Wave Around The World – Film Theory</ref> ≈
• Wild River (1960)<ref name="manonatightrope">Template:Cite web</ref> ≈
• Blast of Silence (1961)<ref name="blastofsilence2">Template:Cite web</ref>
• The Children's Hour (1961)<ref name="thebigleer">Template:Cite magazine</ref>
• The Connection (1961)<ref>Film Forum · THE CONNECTION</ref>
• The Hustler (1961)<ref name="thehustler">Template:Cite web</ref> ≈
• The Misfits (1961)<ref>Template:Cite podcast</ref>
• Night Tide (1961)<ref name="nighttide">Template:Cite web</ref><ref name="midnightscreamings">Template:Cite web</ref>
• One-Eyed Jacks (1961)<ref name="collectiononscreen">Collection on Screen: New Hollywood – Austrian Film Museum</ref> ≈
• Something Wild (1961)<ref name="somethingwild1961">Template:Cite web</ref>
• Splendor in the Grass (1961)<ref name="manonatightrope" />
• David and Lisa (1962)<ref name="davidandlisa">Template:Cite web</ref><ref name="frankperryfilms">Template:Cite web</ref>
• Days of Wine and Roses (1962)<ref name="daysofwineandroses">Template:Cite web</ref> ≈
• Experiment in Terror (1962)<ref name="experimentinterror">Template:Cite web</ref>
• Lolita (1962)<ref name="jewishnewwave"/>
• Lonely Are the Brave (1962)<ref name="timecodecowboys">Template:Cite podcast</ref>
• The Manchurian Candidate (1962)Template:Refn ≈
• The Miracle Worker (1962)<ref name="miracleworker">Template:Cite web</ref><ref name="arthurpenn"/> ≈
• Pressure Point (1962)<ref name="sixtiescrackup"/>
• Requiem for a Heavyweight (1962)<ref name="requiemheavy">Template:Cite web</ref>
• Two for the Seesaw (1962)<ref name="newhollywoodoldsoul"/>
• What Ever Happened to Baby Jane? (1962)<ref name="babyjane">Template:Cite magazine</ref><ref name="sixtiescrackup"/> ≈
• The World's Greatest Sinner (1962)<ref name="sixtiescrackup" />
• America America (1963)<ref name="americakazan">Template:Cite web</ref><ref name="1963nh"/> ≈
• The Cardinal (1963)<ref name="1963nh"/>
• A Child Is Waiting (1963)<ref name="filmtheory"/>
• The Cool World (1963)Template:Refn ≈
• The Great Escape (1963)<ref>Blu-ray Review: The Great Escape – The Retro Set</ref>
• Hallelujah the Hills (1963)<ref name="58to67"/>
• Hud (1963)Template:Refn ≈
• Ladybug, Ladybug (1963)<ref name="ReturnToNH"/>
• Lilies of the Field (1963)<ref name="1963nh">Template:Cite web</ref> ≈
• Love with the Proper Stranger (1963)<ref name="properstranger">Template:Cite web</ref>
• Shock Corridor (1963)Template:Refn ≈
• The Queen of Sheba Meets the Atom Man (1963)<ref name="58to67"/>
• The Brig (1964)<ref name="58to67"/>
• Dr. Strangelove, or: How I Learned to Stop Worrying and Love the Bomb (1964)Template:Refn ≈ ≠
• Fail Safe (1964)<ref name="sidneylumet">Template:Cite web</ref>
• The Killers (1964)<ref name="thekillers2">Template:Cite web</ref><ref name="thekillers1">Template:Cite web</ref>
• Lilith (1964)Template:Refn
• Nothing but a Man (1964)<ref name="nothingbutaman">Template:Cite web</ref><ref name="58to67">The American new wave, 1958–1967: Walker Art Center on Internet Archive</ref> ≈
• One Potato, Two Potato (1964)<ref name="1potato2">Template:Cite web</ref>
• The Pawnbroker (1964)Template:Refn ≈
• Brainstorm (1965)<ref name="sixtiescrackup"/>
• Faster, Pussycat! Kill! Kill! (1965)<ref name="fasterpussycat">Template:Cite web</ref>
• The Hill (1965)<ref name="sidneylumet"/>
• Inside Daisy Clover (1965)<ref name="austinfilmorg">Template:Cite web</ref>
• The Loved One (1965)<ref name="seriouslystrange"/>
• Mickey One (1965)Template:Refn
• None but the Brave (1965)<ref name="retrenchment"/>
• Once a Thief (1965)<ref name="onceathief1">Template:Cite web</ref><ref name="onceathief2">Template:Cite web</ref>
• Rat Fink (1965)<ref name="ratfink1">Template:Cite web</ref><ref name="ratfink2">Template:Cite web</ref>
• The Slender Thread (1965)<ref name="pollack'sfirst">Template:Cite web</ref><ref name="slenderthread">Template:Cite web</ref>
• The Sound of Music (1965)<ref name="moviemusicalstars">Template:Cite web</ref> ≈ ≠
• A Thousand Clowns (1965)<ref name="1000clowns">Template:Cite web</ref><ref name="newhollywoodoldsoul"/>
• Who Killed Teddy Bear? (1965)<ref name="Cinématographe"/>
• Young Dillinger (1965)<ref name="youngdillinger">Template:Cite web</ref>
• An American Dream (1966)<ref name="anamericandream">Template:Cite web</ref>
• The Chase (1966)Template:Refn
• Dutchman (1966)<ref name="newyawknewwave"/><ref name="filmforum"/>
• The Fortune Cookie (1966)<ref name="fortunecookie">Template:Cite web</ref>
• Grand Prix (1966)<ref name="comicbookstyle">Comic Book Film Style: Cinema at 24 Panels Per Second - Google Books (pg.99)</ref>
• The Group (1966)<ref name="thegroupfilm">Template:Cite magazine</ref><ref name="sidneylumet"/>
• Hold Me While I'm Naked (1966)<ref name="58to67"/>
• Lord Love a Duck (1966)<ref name="seriouslystrange">Template:Cite web</ref>
• A Man Called Adam (1966)<ref name="amancalledadam">Template:Cite web</ref>
• Our Man Flint (1966)<ref name="ourmanflint">Template:Cite web</ref>
• The Professionals (1966)<ref name="retrenchment"/>
• Ride in the Whirlwind (1966)<ref name="newwavefilm"/><ref name="filmsite.org"/><ref name="rosenbaum"/>
• The Sand Pebbles (1966)<ref name="retrenchment"/>
• Seconds (1966)Template:Refn ≈
• The Shooting (1966)Template:Refn
• This Property Is Condemned (1966)<ref name="condemnedproperty">Template:Cite web</ref>
• Who's Afraid of Virginia Woolf? (1966)Template:Refn ≈ ≠
• The Wild Angels (1966)<ref>Template:Cite web</ref>
• You're a Big Boy Now (1966)Template:Refn

1967–1969

• Barefoot in the Park (1967)<ref name="barefootpark">Template:Cite news</ref>
• Bonnie and Clyde (1967)Template:Refn ≈ ≠
• The Born Losers (1967)<ref name="bornlosers">Template:Cite web</ref>
• Cool Hand Luke (1967)Template:Refn ≈
• Countdown (1967)<ref name="altmanthenewhollywoodyears" />
• David Holzman's Diary (1967)Template:Refn ≈
• The Dirty Dozen (1967)Template:Refn
• Dont Look Back (1967)Template:Sfn<ref name="directcinema" /> ≈
• Games (1967)<ref name="gamesfilm1">Template:Cite web</ref><ref name="gamesfilm2">Template:Cite web</ref>
• The Graduate (1967)Template:Refn ≈ ≠
• Guess Who's Coming to Dinner? (1967)Template:Refn ≠
• Hells Angels on Wheels (1967)<ref name="hellsangelsonwheels">Template:Cite web</ref>
• Hombre (1967)<ref name="retrenchment"/><ref name="paulnewmanswest"/>
• In Cold Blood (1967)Template:Refn ≈
• In the Heat of the Night (1967)Template:Refn ≈ ≠
• The Incident (1967)Template:Refn
• Point Blank (1967)Template:Refn ≈
• Portrait of Jason (1967)Template:Refn ≈
• The President's Analyst (1967)<ref name="retrenchment"/>
• The Producers (1967)Template:Refn ≈
• Reflections in a Golden Eye (1967)<ref name="armageddontime"/>
• Spring Night, Summer Night (1967)<ref name="containedmultitudes">Template:Cite web</ref><ref name="springsummernights">Template:Cite web</ref>
• Sweet Love, Bitter (1967)<ref name="newyawknewwave"/>
• Titicut Follies (1967)<ref name="titicutfollies">Template:Cite web|quote=(Titicut Follies is in the DNA of exemplars of New Hollywood and superhero film maudit alike, while a screening of Zoo in Yamagata circa 1993 is credited for almost single-handedly sparking a new wave of Chinese documentary filmmakers.)</ref><ref name="directcinema" /> ≈
• The Trip (1967)<ref name="SF"/><ref name="rosenbaum"/>
• Two for the Road (1967)<ref name="twofortheroad1">Template:Cite web</ref><ref name="2fortheroad2">Template:Cite web</ref>
• Up the Down Staircase (1967)<ref name="updownstaircase">Template:Cite web</ref>
• Valley of the Dolls (1967)<ref name="valleydolls">Template:Cite news</ref>
• Wait Until Dark (1967)<ref name="10movies1967">Template:Cite web</ref>
• Who's That Knocking at My Door? (1967)Template:Refn
• 2001: A Space Odyssey (1968)Template:Refn ≈ ≠
• The Boston Strangler (1968)<ref name="bostonstrangler">Template:Cite web</ref><ref name="comicbookstyle"/>
• The Brotherhood (1968)<ref name="thebrotherhood1">Template:Cite web</ref><ref name="thebrotherhood2">Template:Cite web</ref>
• Bullitt (1968)Template:Refn ≈
• Bye Bye Braverman (1968)<ref name="movingimage">Template:Cite web</ref>
• Coogan's Bluff (1968)Template:Sfn
• The Detective (1968)<ref name="nytdetective">Template:Cite news</ref>
• The Edge (1968)<ref name="disillusionment"/>
• Faces (1968)Template:Refn ≈
• Finian's Rainbow (1968)<ref name="finiansrainbow">Template:Cite web</ref>
• Funny Girl (1968)Template:Refn ≈
• Greetings (1968)Template:Refn
• Head (1968)Template:Refn
• Hell in the Pacific (1968)<ref name="retrenchment"/>
• High School (1968)<ref name="NHrewindHS">New HollyWood Rewind – High School – Alternative Nation</ref> ≈
• I Love You, Alice B. Toklas (1968)<ref name="mazurskyprofile">Template:Cite web</ref>
• The Legend of Lylah Clare (1968)<ref>FROM THE ARCHIVES: The Legend of Lylah Clare – Cineaste Magazine ("Enter the new freedom of New Hollywood. There’s a lesbian on the premises. Rossella Forte (Rossella Falk), who was Lylah’s lover—along with many other men and women—is a pathetic attempt to open a discussion about the sexual complexities of Hollywood. If Rossella’s orientation is treated more directly than was previously permitted, the film is suffused by the homophobia of Old Hollywood. Rossella is not much more than a creepy threat to Elsa, for whom she becomes as hot as she was for Lylah, especially after Zarken bleaches the young actress’s hair Lylah’s shade of platinum, styles it as Lylah wore it, and dresses her in Lylah’s old gowns.")</ref>
• Madigan (1968)<ref name="TVfallacy"/>
• Monterey Pop (1968)<ref name="directcinema" /> ≈
• Night of the Living Dead (1968)Template:Refn ≈
• No Way to Treat a Lady (1968)<ref name="nowaytotreat">Template:Cite web</ref>
• The Night They Raided Minsky's (1968)<ref name="raidedminskys">Template:Cite web</ref>
• The Party (1968)<ref name="thepartyfilm">Template:Cite web</ref>
• Petulia (1968)Template:Refn
• Planet of the Apes (1968)Template:Refn ≈
• Pretty Poison (1968)<ref name="tuesdayperkins">Template:Cite web</ref>
• Psych-Out (1968)<ref name="midcenturycinema">Template:Cite web</ref><ref name="psychout">Template:Cite web</ref>
• Rachel, Rachel (1968)<ref name="rachelfilm">Template:Cite web</ref>
• Rosemary's Baby (1968)Template:Refn ≈
• The Sergeant (1968)<ref name="armageddontime"/>
• Skidoo (1968)<ref name="hollywoodmastercukor">George Cukor: Hollywood Master – Google Books (pg.36)</ref>
• The Split (1968)<ref name="10underratedGH">Template:Cite web</ref><ref name="rememberingGH">Template:Cite web</ref>
• The Swimmer (1968)<ref name="swimmer">Template:Cite web</ref><ref name="frankperryfilms" />
• Targets (1968)Template:Refn
• The Thomas Crown Affair (1968)Template:Refn ≈
• UpTight! (1968)<ref name="uptight">Template:Cite web</ref><ref name="sixtiescrackup"/>
• Wild in the Streets (1968)<ref name="wildinthestreets">Template:Cite web</ref>
• Will Penny (1968)<ref name="retrenchment"/>
• Alice's Restaurant (1969)Template:Refn
• Angel, Angel, Down We Go (1969)<ref name="cultofthedamned">Template:Cite magazine</ref>
• The Arrangement (1969)<ref name="thearrangement">Template:Cite web</ref>
• Bob & Carol & Ted & Alice (1969)Template:Refn
• Butch Cassidy and the Sundance Kid (1969)Template:Refn ≈ ≠
• Castle Keep (1969)<ref name="retrenchment"/>
• Changes (1969)<ref name="changesfilm">Template:Cite web</ref>
• Coming Apart (1969)<ref name="newyawknewwave"/><ref name="filmforum"/>
• Downhill Racer (1969)<ref name="67to80"/><ref name="deadoralive"/>
• Easy Rider (1969)Template:Refn ≈ ≠
• Goodbye, Columbus (1969)<ref name="TM">Template:Cite web</ref>
• The Gypsy Moths (1969)<ref name="hackmanNHyears"/>
• The Happy Ending (1969)<ref name="thehappyending">Template:Cite web</ref>
• Hell's Angels '69 (1969)<ref name="furious" />
• Jenny (1969)<ref name="jennyfilm">Template:Cite web</ref>
• John and Mary (1969)<ref name="johnandmary">Template:Cite web</ref><ref name="disillusionment"/>
• Last Summer (1969)<ref name="lastsummer">Template:Cite web</ref>
• The Learning Tree (1969)<ref name="furious"/> ≈
• Lions Love (1969)<ref name="permanentsatisfactions">Template:Cite magazine</ref>
• Marlowe (1969)<ref name="disillusionment"/>
• Marooned (1969)<ref name="hackmanNHyears"/>
• Me, Natalie (1969)<ref name="best&worst">Template:Cite magazine</ref>
• Medium Cool (1969)Template:Refn ≈
• Midnight Cowboy (1969)Template:Refn ≈
• Model Shop (1969)<ref name="demyinNH">Demy in the New Hollywood: Model Shop. – Free Online Library</ref><ref name="containedmultitudes"/>
• On Her Majesty's Secret Service (1969)<ref name="furious"/>
• Out of It (1969)<ref name="paulwilliams" />
• Pit Stop (1969)<ref name="furious"/>
• Popi (1969)<ref name="popifilm">Template:Cite web</ref>
• Putney Swope (1969)Template:Refn ≈
• The Rain People (1969)Template:Refn
• Salesman (1969)<ref name="directcinema">Template:Cite web</ref> ≈
• The Sterile Cuckoo (1969)<ref name="filmsite.org"/><ref name="jewishnewwave"/>
• Sweet Charity (1969)<ref name="extraordinaryfosse">Template:Cite web</ref>
• Take the Money and Run (1969)Template:Refn
• Tell Them Willie Boy Is Here (1969)Template:Refn
• That Cold Day in the Park (1969)<ref name="altmancompanion">A Companion to Robert Altman – Google Books (pg.350)</ref><ref>Template:Cite web</ref>
• They Shoot Horses, Don't They? (1969)Template:Refn
• A Time for Dying (1969)<ref name="disillusionment">Template:Cite web</ref>
• Topaz (1969)<ref name="topazfilm">Template:Cite web</ref>
• True Grit (1969)<ref name="furious"/>
• The Wedding Party (1969)<ref name="furious"/>
• What Ever Happened to Aunt Alice? (1969)<ref name="auntalice">Template:Cite web</ref>
• Where It's At (1969)<ref name="whereitsat">Template:Cite web</ref>
• The Wild Bunch (1969)Template:Refn ≈ ≠

1970s

1970–1971

• Adam at 6 A.M. (1970)<ref name="limitsofauteurism"/>
• Airport (1970)Template:Refn
• Alex in Wonderland (1970)Template:Refn
• The Baby Maker (1970)<ref name="tarantinodeadline" />
• The Ballad of Cable Hogue (1970)Template:Refn
• Beneath the Planet of the Apes (1970)<ref name="planetapesseries"/>
• Beyond the Valley of the Dolls (1970)<ref name="beyondvalley">Template:Cite web</ref>
• Bloody Mama (1970)<ref name="70splay30s"/><ref name="sept2022"/>
• The Boys in the Band (1970)<ref name="TM"/><ref name="67to80"/>
• Brewster McCloud (1970)Template:Refn
• Catch-22 (1970)Template:Refn
• Cotton Comes to Harlem (1970)Template:Refn
• Cover Me Babe (1970)<ref name="makingit" />
• Diary of a Mad Housewife (1970)Template:Refn
• Didn't You Hear? (1970)<ref name="didntyouhear">Template:Cite web</ref>
• End of the Road (1970)<ref name="ReturnToNH"/><ref name="demyinNH"/>
• Five Easy Pieces (1970)Template:Refn ≈
• Flap (1970)<ref name="flapfilm">Template:Cite web</ref>
• Gas-s-s-s (1970)<ref name="gasssscorman">Template:Cite web</ref>
• Getting Straight (1970)Template:Refn<ref name="filmedinoregon">"Five Easy Pieces" and "Getting Straight" are Examples of American New Wave Cinema Filmed in Oregon – Williamette Week</ref>
• Gimme Shelter (1970)<ref name="NH"/><ref name="american70s"/>
• The Great White Hope (1970)<ref name="newblackhollywood" />
• Halls of Anger (1970)<ref name="tarantinodeadline" /><ref name="newblackhollywood">Template:Cite book</ref>
• Hi, Mom! (1970)<ref name="best new Hollywood movies you probably haven't seen"/><ref name="demyinNH"/>
• The Honeymoon Killers (1970)<ref name="honeymoonkillers">Template:Cite web</ref>
• Husbands (1970)<ref name="otherhollywoodrenaissance"/><ref name="fordtocity"/>
• I Am Somebody (1970)<ref name="adifferentpicture"/> ≈
• Ice (1970)<ref name="outsiders"/>
• I Love My...Wife (1970)<ref name="otherhollywoodrenaissance"/><ref name="elliottgouldNH" />
• I Never Sang for My Father (1970)Template:Refn
• I Walk the Line (1970)<ref name="iwalktheline">Template:Cite web</ref>
• Joe (1970)Template:Sfn<ref name="filmsite.org"/>
• Kelly's Heroes (1970)Template:Refn
• The Landlord (1970)Template:Refn
• Last of the Mobile Hot Shots (1970)<ref name="disillusionment"/>
• The Liberation of L.B. Jones (1970)<ref name="liberation">Template:Cite web</ref><ref name="disillusionment"/>
• Little Big Man (1970)Template:Refn ≈
• Little Fauss and Big Halsy (1970)<ref name="limitsofauteurism">Template:Cite journal</ref>
• Love Story (1970)Template:Refn
• Loving (1970)Template:Refn
• The Magic Garden of Stanley Sweetheart (1970)<ref name="tarantinodeadline" />
• Maidstone (1970)<ref name="filmforum"/><ref name="newyawknewwave"/>
• A Man Called Horse (1970)<ref name="amancalledhorse">Template:Cite web</ref>
• M*A*S*H (1970)Template:Refn ≈ ≠
• Move (1970)<ref name="elliottgouldNH" />
• Myra Breckinridge (1970)<ref>Queer & Now & Then: 1970 – Film Comment Magazine</ref>
• On a Clear Day You Can See Forever (1970)<ref name="onaclearday">Template:Cite web</ref>
• The Owl and the Pussycat (1970)<ref name="tarantinodeadline" /><ref name="jewishnewwave"/>
• Patton (1970)Template:Refn ≈ ≠
• The People Next Door (1970)Template:Refn
• Puzzle of a Downfall Child (1970)Template:Refn
• Quackser Fortune Has a Cousin in the Bronx (1970)<ref name="quackser">Template:Cite web</ref>
• The Revolutionary (1970)Template:Refn
• R.P.M. (1970)<ref name="limitsofauteurism"/><ref name="filmsite.org"/>
• The Sidelong Glances of a Pigeon Kicker (1970)<ref name="pigeonkicker">Template:Cite web</ref>
• Soldier Blue (1970)<ref name="soldierblue">Template:Cite web</ref><ref name="newwavefilmhistory2"/>
• Something for Everyone (1970)<ref name="something4every1">Template:Cite web</ref>
• Start the Revolution Without Me (1970)<ref name="bastilleday">Template:Cite web</ref>
• Stop! (1970)<ref name="disillusionment"/>
• The Strawberry Statement (1970)Template:Refn
• Street Scenes 1970 (1970)<ref name="disillusionment"/>
• The Student Nurses (1970)<ref name="adifferentpicture"/>
• Tell Me That You Love Me, Junie Moon (1970)<ref name="premingergaybff">Template:Cite web</ref>
• ...Tick...Tick...Tick... (1970)<ref name="newblackhollywood" />
• The Traveling Executioner (1970)<ref name="executioner">Template:Cite web</ref><ref name="stacykeachNHperf"/>
• Tropic of Cancer (1970)<ref name="disillusionment"/>
• Two Mules for Sister Sara (1970)<ref name="nyandbeyond">Daily|Goings On|New York and Beyond - Keyframe</ref>
• Wanda (1970)Template:Refn ≈
• Watermelon Man (1970)<ref name="newhollywoodcriterion">The Criterion Channel's September 2024 Lineup|Current|The Criterion Collection</ref>
• Where's Poppa? (1970)<ref name="fordtocity"/><ref name="tarantinodeadline" />
• Woodstock (1970)Template:Refn ≈
• WUSA (1970)<ref name="wusa">Template:Cite magazine</ref>
• Zabriskie Point (1970)Template:Refn
• $ (1971)<ref name="goldiehawnmovies">Template:Cite web</ref>
• The American Dreamer (1971)<ref>The American Dreamer (1971) – Flickchart</ref>
• The Anderson Tapes (1971)Template:Refn
• The Andromeda Strain (1971)<ref name="andromeda">Template:Cite web</ref>
• Bananas (1971)<ref name="newfreedoms">The New Hollywood: What the Movies Did with the New Freedoms of the Seventies - Google Books</ref><ref name="jewishnewwave"/>
• Been Down So Long It Looks Like Up to Me (1971)<ref name="limitsofauteurism" />
• The Beguiled (1971)<ref name="UM">Template:Cite web</ref>
• Billy Jack (1971)<ref name="enl.auth.gr"/>
• Born to Win (1971)Template:Refn
• Carnal Knowledge (1971)Template:Refn
• Chandler (1971)<ref name="disillusionment"/>
• The Christian Licorice Store (1971)<ref name="christianlicorice">Template:Cite web</ref>
• Cisco Pike (1971)Template:Refn
• A Clockwork Orange (1971)Template:Refn ≈ ≠
• Desperate Characters (1971)<ref name="desperatecharacters">Template:Cite web</ref>
• Dirty Harry (1971)Template:Refn ≈
• "Doc" (1971)<ref>'Doc' – Sag Harbor Cinema</ref><ref name="retrenchment"/>
• Drive, He Said (1971)Template:Refn
• Duel (1971)Template:Refn
• Dusty and Sweets McGee (1971)<ref name="outsiders"/>
• Escape from the Planet of the Apes (1971)<ref name="planetapesseries">Template:Cite web</ref>
• Fiddler on the Roof (1971)Template:Sfn
• The French Connection (1971)Template:Refn ≈ ≠
• Glen and Randa (1971)<ref name="demyinNH"/><ref name="rosenbaum">Template:Cite web</ref>
• Going Home (1971)<ref name="goinghome">Template:Cite web</ref>
• Growing Up Female (1971)<ref name="adifferentpicture"/> ≈
• Happy Birthday, Wanda June (1971)<ref name="hbwandajune">Template:Cite web</ref>
• Harold and Maude (1971)Template:Refn ≈
• The Hired Hand (1971)<ref name="best new Hollywood movies you probably haven't seen">The Best 'New Hollywood' Movies You Probably Haven't Seen|/Film</ref><ref name="limitsofauteurism"/>
• The Horsemen (1971)<ref name="thehorsemen">Template:Cite web</ref>
• The Hospital (1971)Template:Refn ≈
• The Hunting Party (1971)<ref name="huntingparty">Template:Cite magazine</ref>
• Jennifer on My Mind (1971)<ref name="jennifermind">Template:Cite web</ref>
• Johnny Got His Gun (1971)<ref name="67to80"/><ref name="johnnygun">Template:Cite magazine</ref>
• Klute (1971)Template:Refn
• The Last Movie (1971)Template:Refn
• The Last Picture Show (1971)Template:Refn ≈ ≠
• The Last Run (1971)<ref name="alansharpobit">Template:Cite news</ref>
• Let's Scare Jessica to Death (1971)<ref name="scarejessica">Template:Cite web</ref><ref name="disillusionment"/>
• Little Murders (1971)<ref name="TM"/>
• Making It (1971)<ref name="makingit">Template:Cite web</ref>
• McCabe & Mrs. Miller (1971)Template:Refn ≈
• Minnie and Moskowitz (1971)<ref name="otherhollywoodrenaissance"/>
• A New Leaf (1971)Template:Refn ≈
• The Panic in Needle Park (1971)Template:Refn
• Play Misty for Me (1971)Template:Sfn<ref name="playmisty">Template:Cite web</ref>
• Pretty Maids All in a Row (1971)<ref name="grumpire">Template:Cite magazine</ref><ref name="prettymaids">Template:Cite web</ref>
• Punishment Park (1971)<ref name="punishmentpark">Template:Cite web</ref><ref name="thesentinel" />
• The Pursuit of Happiness (1971)<ref name="pursuithappiness">Template:Cite web</ref><ref name="disillusionment"/>
• A Safe Place (1971)Template:Refn
• Shaft (1971)Template:Refn ≈
• Some of My Best Friends Are... (1971)<ref name="myBFFare">Template:Cite web</ref>
• Sometimes a Great Notion (1971)<ref name="villagevoice">Template:Cite news</ref><ref name="greatnotion">Template:Cite web</ref>
• The Sporting Club (1971)<ref name="sportingclub">Template:Cite web</ref>
• Straw Dogs (1971)Template:Refn
• Such Good Friends (1971)Template:Refn
• Summer of '42 (1971)<ref name="summerof42">Template:Cite web</ref>
• Sweet Sweetback's Baadasssss Song (1971)Template:Refn ≈
• Taking Off (1971)Template:Refn
• The Telephone Book (1971)<ref name="telephonebook">Template:Cite magazine</ref><ref name="thetelephonebook">Template:Cite web</ref>
• They Might Be Giants (1971)<ref name="fordtocity"/>
• THX 1138 (1971)Template:Refn
• The Todd Killings (1971)<ref name="toddkillings">Template:Cite web</ref>
• The Touch (1971)<ref name="elliottgouldNH">Template:Cite web</ref>
• T.R. Baskin (1971)<ref>T.R. Baskin review by 🇵🇱 Steve G 🐝 · Letterboxd</ref><ref name="disillusionment"/>
• Two-Lane Blacktop (1971)Template:Refn ≈
• Vanishing Point (1971)Template:Refn
• Walkabout (1971)<ref name="walkaboutfilm">Template:Cite web</ref><ref name="NHrewindwalkabout">Template:Cite web</ref>
• Welcome Home, Soldier Boys (1971)<ref name="welcomehome">Template:Cite web</ref><ref name="soldierboys">Template:Cite web</ref>
• What's the Matter with Helen? (1971)<ref name="matterwithhelen">Template:Cite web</ref>
• Who Is Harry Kellerman and Why Is He Saying Those Terrible Things About Me? (1971)<ref name="whoisharrykellerman">Template:Cite web</ref>
• Wild Rovers (1971)<ref name="wildrovers">Template:Cite web</ref>
• Willy Wonka & the Chocolate Factory (1971)<ref name="wb100"/> ≈

1972–1973

• Across 110th Street (1972)<ref name="across110th">Template:Cite web</ref>
• Bad Company (1972)<ref name="MT"/><ref name="paramountinthe70s"/>
• Bone (1972)<ref name="limitsofauteurism"/><ref name="bonefilm">Template:Cite web</ref>
• Boxcar Bertha (1972)Template:Refn
• Butterflies Are Free (1972)<ref name="butterfliesarefree">Template:Cite web</ref>
• Cabaret (1972)Template:Refn ≈ ≠
• The Candidate (1972)Template:Refn
• The Carey Treatment (1972)<ref name="disillusionment"/>
• Child's Play (1972)<ref name="Cinématographe"/>
• Conquest of the Planet of the Apes (1972)<ref name="planetapesseries"/><ref name="conquestapes">Template:Cite web</ref>
• Cry for Me, Billy (1972)<ref name="cryformebilly">Template:Cite web</ref>
• The Culpepper Cattle Co. (1972)<ref name="newhollywoodretrospective"/>
• Deadhead Miles (1972)<ref name="deadheadmiles">Template:Cite web</ref>
• Dealing: Or the Berkeley-to-Boston Forty-Brick Lost-Bag Blues (1972)<ref name="paulwilliams" /><ref name="demyinNH"/>
• Deep Throat (1972)<ref name="whenmoviesmattered"/>
• Deliverance (1972)Template:Refn ≈
• The Effect of Gamma Rays on Man-in-the-Moon Marigolds (1972)<ref name="marigolds">Template:Cite web</ref><ref name="disillusionment"/>
• Everything You Always Wanted to Know About Sex* (*But Were Afraid to Ask) (1972)<ref name="woodyallensexmovie">Template:Cite web</ref>
• Fat City (1972)Template:Refn
• Fritz the Cat (1972)Template:Refn
• Frogs (1972)<ref name="frogs_longtake">Template:Cite web</ref>
• Fuzz (1972)<ref name="fuzzmovie">Template:Cite web</ref>
• Get to Know Your Rabbit (1972)<ref name="gettoknowyourrabbit">Template:Cite web</ref>
• The Getaway (1972)Template:Refn
• The Godfather (1972)Template:Refn ≈ ≠
• The Great Northfield, Minnesota Raid (1972)<ref name="northfieldminn">Template:Cite magazine</ref>
• The Heartbreak Kid (1972)Template:Refn
• Hickey & Boggs (1972)Template:Refn
• The Hot Rock (1972)<ref name="fordtocity"/>
• Images (1972)Template:Refn
• Jeremiah Johnson (1972)Template:Refn
• Junior Bonner (1972)<ref name="MT"/>
• Kansas City Bomber (1972)<ref name="kansascitybomber">Template:Cite web</ref><ref name="kcbomber">Template:Cite web</ref>
• The King of Marvin Gardens (1972)Template:Refn
• Lady Sings the Blues (1972)<ref name="lostmenfoundwomen"/><ref name="celebratedera"/>
• Last of the Red Hot Lovers (1972)<ref name="Cinématographe"/>
• The Last House on the Left (1972)<ref name="grantland.com">Template:Cite web</ref>
• The Life and Times of Judge Roy Bean (1972)Template:Refn
• Limbo (1972)<ref name="universal70spt2"/>
• The Limit (1972)<ref name="disillusionment"/>
• The Loners (1972)<ref name="disillusionment"/>
• The Mechanic (1972)<ref>THE MECHANIC'S Ambiguously Gay Duo – The Retro Set</ref>
• The New Centurions (1972)<ref name="disillusionment"/>
• One Is a Lonely Number (1972)<ref name="onelonelynum">Template:Cite web</ref>
• The Other (1972)<ref name="theother1972">Template:Cite web</ref>
• Painters Painting (1972)<ref name="disillusionment"/>
• Pete 'n' Tillie (1972)<ref name="petentillie">Template:Cite web</ref>
• Pink Flamingos (1972)<ref name="pinkflamingos">Template:Cite web</ref><ref name="kaelyouridols">Template:Cite podcast</ref> ≈
• Play It Again, Sam (1972)<ref name="playitagainsam">Template:Cite web</ref><ref name="enl.auth.gr"/>
• Play It as It Lays (1972)<ref name="ReturnToNH"/>
• Pocket Money (1972)<ref name="UM"/>
• Portnoy's Complaint (1972)<ref name="karenblackNH"/>
• The Poseidon Adventure (1972)Template:Sfn<ref name="hollywoodandbabyboom"/>
• The Possession of Joel Delaney (1972)<ref>Template:Cite web</ref>
• Prime Cut (1972)Template:Refn
• Silent Running (1972)<ref name="silentrunning">Template:Cite web</ref><ref>Silent Running – Madeline Pritchard</ref>
• Sisters (1972)Template:Refn
• Slaughterhouse-Five (1972)Template:Sfn<ref name="MT"/>
• Sounder (1972)<ref name="historicalfilm">Template:Cite book</ref><ref name="TVfallacy"/> ≈
• Super Fly (1972)<ref name="fordtocity"/><ref name="hollywoodandbabyboom"/> ≈
• Thumb Tripping (1972)<ref name="thumbtripping">Template:Cite web</ref>
• To Find a Man (1972)<ref name="tofindaman">Template:Cite web</ref>
• To Kill a Clown (1972)<ref name="tokillaclown">Template:Cite web</ref>
• Tomorrow (1972)<ref name="MT">Template:Cite web</ref>
• Ulzana's Raid (1972)<ref name="openingwednesday"/>
• Unholy Rollers (1972)<ref name="disillusionment"/>
• Up the Sandbox (1972)<ref name="whenmoviesmattered"/>
• The Visitors (1972)<ref name="disillusionment"/>
• What's Up, Doc? (1972)Template:Refn
• You'll Like My Mother (1972)<ref name="youlikemom">Template:Cite web</ref>
• American Graffiti (1973)Template:Refn ≈ ≠
• The Baby (1973)<ref name="thebabymovie">Template:Cite magazine</ref>
• Badge 373 (1973)<ref name="disillusionment"/>
• Badlands (1973)Template:Refn ≈
• Bang the Drum Slowly (1973)<ref name="Cinématographe"/><ref name="10youhaventseen" />
• Battle for the Planet of the Apes (1973)<ref name="planetapesseries"/><ref name="battleapes">Template:Cite web</ref>
• Blume in Love (1973)Template:Refn
• Breezy (1973)<ref name="SF"/><ref name="sleeperstwo"/>
• Charley Varrick (1973)Template:Refn
• Cinderella Liberty (1973)<ref name="cinderellaliberty">Template:Cite web</ref>
• Coffy (1973)<ref name="openingwednesday"/>
• Cops and Robbers (1973)<ref name="retrenchment"/>
• The Day of the Dolphin (1973)<ref name="dolphinday">Template:Cite web</ref>
• Dillinger (1973)Template:Refn
• The Don Is Dead (1973)<ref name="deaddon1">Template:Cite web</ref><ref name="deaddon2">Template:Cite web</ref>
• Electra Glide in Blue (1973)Template:Refn
• Emperor of the North Pole (1973)Template:Refn
• Enter the Dragon (1973)<ref name="wb100">100 Years of Warner Bros: New Hollywood (1970s-1980s) 4K Blu-Ray (Digipack) (United Kingdom) – Blu-ray.com</ref> ≈
• The Exorcist (1973)Template:Refn ≈
• The Friends of Eddie Coyle (1973)Template:Refn
• Heavy Traffic (1973)<ref name="keepingitreal">Template:Cite web</ref><ref name="jewishnewwave"/>
• High Plains Drifter (1973)Template:Refn
• The Iceman Cometh (1973)<ref name="icemancometh">Template:Cite web</ref>
• Jesus Christ Superstar (1973)<ref name="50yearsagomyfairlady">Template:Cite magazine</ref>
• Kid Blue (1973)<ref name="kidblue">Template:Cite web</ref>
• The Killing Kind (1973)
• The Last American Hero (1973)<ref name="UM"/>
• The Last Detail (1973)Template:Refn
• The Last of Sheila (1973)<ref name="lastofsheila">Template:Cite web</ref>
• The Laughing Policeman (1973)<ref name="thelaughingpoliceman">Template:Cite web</ref><ref name="retrenchment"/>
• Lolly-Madonna XXX (1973)<ref name="disillusionment"/>
• The Long Goodbye (1973)Template:Refn ≈
• Love and Pain and the Whole Damn Thing (1973)<ref name="thewholedamnthing">Template:Cite web</ref>
• The MacKintosh Man (1973)<ref name="whoknewitcouldbeworse?"/>
• Magnum Force (1973)Template:Refn
• Mean Streets (1973)Template:Refn ≈
• The Outfit (1973)Template:Refn
• The Paper Chase (1973)<ref name="paperchase1">Template:Cite tweet</ref><ref>The Paper Chase (1973) – Flickchart</ref>
• Paper Moon (1973)Template:Refn
• Papillon (1973)<ref name="papillon">Template:Cite web</ref>
• Pat Garrett and Billy the Kid (1973)Template:Refn
• Payday (1973)Template:Refn
• Road Movie (1973)<ref name="roadmovie1973">Template:Cite web</ref>
• Save the Tiger (1973)Template:Refn
• Scarecrow (1973)<ref name="NH"/><ref name="jewishnewwave"/>
• Serpico (1973)Template:Refn
• The Seven-Ups (1973)Template:Refn
• Sleeper (1973)Template:Sfn<ref name="american70s"/>
• Slither (1973)<ref name="slithermovie">Template:Cite web</ref>
• Soylent Green (1973)<ref name="soylentgreen">Template:Cite web</ref><ref name="retrenchment"/>
• The Spook Who Sat by the Door (1973)<ref name="spooksatbydoor">Template:Cite web</ref> ≈
• Sssssss (1973)<ref name="Sssssss">Template:Cite web</ref>
• Steelyard Blues (1973)<ref name="steelyardblues">Template:Cite web</ref>
• The Sting (1973)Template:Refn ≈
• Terminal Island (1973)<ref name="adifferentpicture"/>
• Walking Tall (1973)<ref name="hollywoodandbabyboom">Hollywood and the Baby Boom: A Social History - Google Books (pgs.130-132)</ref><ref name="retrenchment"/>
• Wattstax (1973)<ref name="disillusionment"/> ≈
• The Way We Were (1973)Template:Refn
• Westworld (1973)<ref name="academia"/><ref name="disillusionment"/>
• White Lightning (1973)<ref name="retrenchment"/>

1974–1975

• 99 and 44/100% Dead (1974)<ref name="99%dead">Template:Cite web</ref>
• Alice Doesn't Live Here Anymore (1974)Template:Refn
• Attica (1974)<ref name="whenmoviesmattered"/>
• Blazing Saddles (1974)Template:Refn ≈
• Buster and Billie (1974)<ref name="buster&billie">Template:Cite web</ref>
• Busting (1974)Template:Refn
• Bring Me the Head of Alfredo Garcia (1974)Template:Refn
• Caged Heat (1974)<ref name="filmsite.org"/>
• California Split (1974)Template:Refn
• Chinatown (1974)Template:Refn ≈ ≠
• Claudine (1974)Template:Refn
• Cockfighter (1974)<ref name="cockfighter">Template:Cite web</ref><ref name="inandoutofplace"/>
• The Conversation (1974)Template:Refn ≈
• Crazy Joe (1974)<ref name="disillusionment"/>
• Daisy Miller (1974)<ref name="paramountinthe70s"/><ref name="bad cinema"/>
• Dark Star (1974)Template:Refn
• Death Wish (1974)Template:Refn
• The Dion Brothers (1974)<ref name="10youhaventseen">Template:Cite web</ref>
• Dirty Mary, Crazy Larry (1974)<ref name="dirtymarycrazylarry">Template:Cite web</ref><ref name="carchaseallegory">Template:Cite journal</ref>
• Earthquake (1974)Template:Refn
• Female Trouble (1974)<ref name="48hills"/>
• For Pete's Sake (1974)<ref name="disillusionment"/>
• Foxy Brown (1974)<ref name="shadowcinemaofamerican70s"/><ref name="openingwednesday"/>
• Freebie and the Bean (1974)Template:Refn
• The Gambler (1974)<ref name="paramountinthe70s"/><ref>Mark Wahlberg’s Tense Remake of a New Hollywood Classic Just Found a New Streaming Home|Collider</ref>
• Ganja & Hess (1974)<ref name="48hills"/> ≈
• Ginger in the Morning (1974)<ref name="disillusionment"/>
• The Godfather Part II (1974)Template:Refn ≈ ≠
• The Great Gatsby (1974)Template:Refn
• Harry and Tonto (1974)<ref name="OG"/><ref name="newhollywoodretrospective"/>
• Hearts and Minds (1974)Template:Refn ≈
• Law and Disorder (1974)<ref name="armageddontime"/>
• Lenny (1974)Template:Refn
• The Longest Yard (1974)<ref name="hollywoodandbabyboom"/><ref name="disillusionment"/>
• The Lords of Flatbush (1974)<ref name="lordsflatbush">Template:Cite web</ref>
• Lovin' Molly (1974)<ref name="lovinmolly">Template:Cite web</ref><ref name="disillusionment"/>
• Luther (1974)<ref name="stacykeachNHperf"/>
• Macon County Line (1974)<ref name="maconcountyline">Template:Cite web</ref>
• Man on a Swing (1974)<ref name="manonaswing">Template:Cite web</ref>
• McQ (1974)<ref name="mcqfilm">Template:Cite web</ref>
• Messiah of Evil (1974)<ref>Radiance Blu Ray Release : Messiah of Evil (1973) – B&S About Movies</ref><ref name="messiahofevil"/>
• The Midnight Man (1974)<ref name="midnightman">Template:Cite web</ref>
• The Nickel Ride (1974)<ref name="thenickelride">Template:Cite podcast</ref><ref name="disillusionment"/>
• The Parallax View (1974)Template:Refn
• Phantom of the Paradise (1974)Template:Refn
• Phase IV (1974)<ref name="phase4">Template:Cite web</ref><ref name="newhollywoodretrospective"/>
• Shanks (1974)<ref name="Cinématographe"/>
• The Spikes Gang (1974)<ref name="disillusionment"/>
• The Sugarland Express (1974)Template:Refn
• The Super Cops (1974)<ref name="retrenchment"/>
• The Taking of Pelham One Two Three (1974)<ref name="fordtocity"/><ref name="retrenchment"/>
• The Texas Chain Saw Massacre (1974)Template:Refn ≈
• Thieves Like Us (1974)Template:Refn
• Three the Hard Way (1974)<ref name="whenmoviesmattered"/>
• Thunderbolt and Lightfoot (1974)Template:Refn
• The Towering Inferno (1974)Template:Refn
• Uptown Saturday Night (1974)<ref name="betrayal"/> ≈
• The White Dawn (1974)<ref name="thewhitedawn">Template:Cite podcast</ref>
• Who? (1974)<ref name="elliottgouldNH" />
• A Woman Under the Influence (1974)Template:Refn ≈
• The Yakuza (1974)<ref name="nach1968"/><ref name="retrenchment"/>
• Young Frankenstein (1974)Template:Refn ≈
• Zardoz (1974)<ref name="48hills"/>
• 92 in the Shade (1975)<ref name="summerwatchlist">Template:Cite web</ref>
• Aloha, Bobby and Rose (1975)<ref name="shadowcinemaofamerican70s">The Shadow Cinema of the American '70s|Quad Cinema</ref><ref name="openingwednesday"/>
• At Long Last Love (1975)<ref name="tuneless">Template:Cite web</ref><ref name="june1977">June 1977: When New Hollywood Got Weird – The Film Stage</ref>
• Barry Lyndon (1975)Template:Refn
• Bite the Bullet (1975)<ref name="disillusionment"/>
• Cooley High (1975)Template:Refn ≈
• Coonskin (1975)<ref name="jewishnewwave">New Wave, New Hollywood: Reassessment, Recovery, and Legacy - Google Books (pgs.59-60)</ref>
• The Day of the Locust (1975)Template:Refn
• Dog Day Afternoon (1975)Template:Refn ≈
• The Drowning Pool (1975)<ref name="thedrowningpool">Template:Cite web</ref>
• The Eiger Sanction (1975)Template:Sfn
• Farewell, My Lovely (1975)<ref name="farewellmylovely">Template:Cite web</ref><ref name="inandoutofplace"/>
• French Connection II (1975)<ref name="frenchconnection2">Template:Cite web</ref><ref name="disillusionment"/>
• Funny Lady (1975)<ref name="jewishnewwave"/>
• The Great Waldo Pepper (1975)<ref name="waldopepper">Template:Cite podcast</ref>
• Hard Times (1975)Template:Refn
• Hearts of the West (1975)<ref name="heartswest">Template:Cite web</ref>
• Hester Street (1975)Template:Refn ≈
• The "Human" Factor (1975)<ref name="disillusionment"/>
• Hustle (1975)<ref name="disillusionment"/>
• Jaws (1975)Template:Refn ≈ ≠
• The Killer Elite (1975)<ref name="thekillerelite">Template:Cite web</ref><ref name="retrenchment"/>
• Let's Do It Again (1975)<ref name="disillusionment"/>
• Loose Ends (1975)<ref name="outsiders"/>
• Love and Death (1975)<ref name="jewishnewwave"/><ref name="whenmoviesmattered"/>
• Lucky Lady (1975)<ref name="luckylady">Template:Cite web</ref>
• Milestones (1975)<ref name="berlinale2004">Template:Cite magazine</ref>
• Nashville (1975)Template:Refn ≈ ≠
• Night Moves (1975)Template:Refn
• One Flew Over the Cuckoo's Nest (1975)Template:Refn ≈ ≠
• The Prisoner of Second Avenue (1975)<ref name="prisoner2ndave">Template:Cite web</ref>
• Race with the Devil (1975)<ref name="disillusionment"/>
• Rafferty and the Gold Dust Twins (1975)<ref name="MT"/>
• Rancho Deluxe (1975)<ref name="arthousecult">Template:Cite web</ref><ref name="ranchodeluxe">Template:Cite web</ref>
• Report to the Commissioner (1975)<ref name="retrenchment"/><ref name="disillusionment"/>
• The Rocky Horror Picture Show (1975)<ref name="musicalsofnewhollywood"/> ≈
• Rollerball (1975)<ref name="retrenchment"/>
• Shampoo (1975)Template:Refn
• Smile (1975)Template:Sfn<ref name="OG"/>
• The Stepford Wives (1975)<ref name="retrenchment"/>
• The Sunshine Boys (1975)<ref name="betrayal"/>
• Three Days of the Condor (1975)Template:Refn
• The Wind and the Lion (1975)Template:Sfn<ref>The Wind and the Lion (1975) – Flickchart</ref>

1976–1977

• All the President's Men (1976)Template:Refn ≈ ≠
• Assault on Precinct 13 (1976)Template:Refn
• The Bad News Bears (1976)<ref name="1976classics">Template:Cite web</ref><ref name="TVfallacy"/>
• The Big Bus (1976)<ref name="thebigbus">Template:Cite web</ref>
• The Bingo Long Traveling All-Stars & Motor Kings (1976)<ref name="whenmoviesmattered"/>
• Bound for Glory (1976)Template:Refn
• Buffalo Bill and the Indians, or Sitting Bull's History Lesson (1976)Template:Refn
• Car Wash (1976)<ref name="universal70spt1" /><ref name="carwash">Template:Cite web</ref>
• Carrie (1976)Template:Refn<ref name="pulpfiction">Template:Cite web</ref> ≈
• Family Plot (1976)<ref name="familyplot">Template:Cite web</ref><ref name="karenblackNH"/>
• Fighting Mad (1976)<ref name="disillusionment"/>
• The First Nudie Musical (1976)<ref name="1stnudiemusical">Template:Cite web</ref>
• The Front (1976)<ref name="thefront">Template:Cite web</ref>
• Futureworld (1976)<ref name="academia"/>
• God Told Me To (1976)<ref name="filmmuseum.at">Template:Cite web</ref>
• Harlan County, USA (1976)<ref name="newhollywoodwomen"/><ref name="adifferentpicture"/> ≈
• Harry and Walter Go to New York (1976)<ref name="disillusionment"/>
• Heartworn Highways (1976)<ref name="disillusionment"/>
• The Killer Inside Me (1976)<ref name="stacykeachNHperf">Template:Cite web</ref><ref name="disillusionment"/>
• The Killing of a Chinese Bookie (1976)Template:Refn
• The Last Hard Men (1976)<ref name="whenmoviesmattered"/>
• The Last Tycoon (1976)Template:Refn
• Leadbelly (1976)<ref name="paramountinthe70s"/><ref name="affectpoetics"/>
• Lifeguard (1976)<ref name="disillusionment"/>
• Logan's Run (1976)<ref name="retrenchment"/><ref name="1976classics" />
• Marathon Man (1976)Template:Refn
• Mikey and Nicky (1976)Template:Refn
• The Missouri Breaks (1976)Template:Refn
• Mother, Jugs and Speed (1976)<ref name="betrayal"/>
• Network (1976)Template:Refn ≈ ≠
• Next Stop, Greenwich Village (1976)Template:Refn
• Nickelodeon (1976)<ref name="nickelodeonmovie">Template:Cite web</ref><ref name="bad cinema"/><ref name="nach1968"/>
• Not a Pretty Picture (1976)<ref name="newhollywoodwomen"/>
• Obsession (1976)Template:Refn
• The Omen (1976)Template:Refn
• The Outlaw Josey Wales (1976)Template:Sfn<ref name="1976classics" /> ≈
• The Ritz (1976)<ref name="theritz">Template:Cite web</ref>
• Rocky (1976)Template:Refn ≈ ≠
• The Shootist (1976)<ref name="1976classics" />
• Silver Streak (1976)<ref name="hollywoodandbabyboom"/>
• A Star Is Born (1976)<ref name="betrayal"/>
• Stay Hungry (1976)<ref name="stayhungry">Template:Cite web</ref><ref name="10youhaventseen" />
• Sweet Revenge (1976)<ref name="sweetrevenge">Template:Cite web</ref><ref name="disillusionment"/>
• Taxi Driver (1976)Template:Refn ≈ ≠
• Trackdown (1976)<ref name="disillusionment"/>
• Tracks (1976)<ref name="tracksfilm">Template:Cite web</ref><ref name="permanentsatisfactions"/>
• Underground (1976)<ref name="berlinale2004"/>
• Voyage of the Damned (1976)<ref name="damnedvoyage">Template:Cite journal</ref>
• Welcome to L.A. (1976)<ref name="otherhollywoodrenaissance"/><ref name="newhollywoodretrospective"/>
• 3 Women (1977)Template:Refn
• Alambrista! (1977)<ref name="alambrista">Alambrista! (1977) – Flickchart</ref> ≈
• Annie Hall (1977)Template:Refn ≈ ≠
• Audrey Rose (1977)<ref name="audreyrose">Template:Cite web</ref>
• Between the Lines (1977)<ref name="betweenlines">Template:Cite web</ref><ref name="affectpoetics"/>
• Black Sunday (1977)<ref name="blacksunday">Template:Cite web</ref><ref name="disillusionment"/>
• Bobby Deerfield (1977)<ref name="bobbydeerfield">Template:Cite web</ref><ref name="disillusionment"/>
• Close Encounters of the Third Kind (1977)Template:Refn ≈ ≠
• The Domino Principle (1977)<ref name="disillusionment"/>
• Equus (1977)<ref name="emerge"/>
• Eraserhead (1977)Template:Refn ≈
• Exorcist II: The Heretic (1977)<ref>Exorcist II: The Heretic (1977) – Flickchart</ref>
• Fun with Dick and Jane (1977)<ref name="thelastgoodtime" />
• The Gauntlet (1977)Template:Sfn
• The Goodbye Girl (1977)<ref name="thegoodbyegirl">Template:Cite web</ref><ref name="betrayal"/>
• Grand Theft Auto (1977)<ref name="disillusionment"/>
• Handle with Care (1977)Template:Refn
• A Hell of a Note (1977)<ref name="disillusionment"/>
• Heroes (1977)<ref name="harrisonheroes">Template:Cite web</ref>
• High Anxiety (1977)Template:Sfn<ref name="emerge">The 20 Best Directors to Emerge From the New Hollywood Movement – MovieWeb</ref>
• The Hills Have Eyes (1977)<ref>Template:Cite book</ref><ref name="newhollywoodexplained"/>
• I Never Promised You a Rose Garden (1977)<ref name="rosegarden">Template:Cite web</ref>
• Islands in the Stream (1977)<ref name="thelastgoodtime">Template:Cite book</ref>
• Joyride (1977)<ref name="Cinématographe"/>
• Julia (1977)<ref name="betrayal"/>
• The Kentucky Fried Movie (1977)<ref name="kentuckyfried">Template:Cite web</ref>
• Last Chants for a Slow Dance (1977)<ref name="lastchants">Template:Cite web</ref><ref name="disillusionment"/>
• The Late Show (1977)Template:Refn
• Looking for Mr. Goodbar (1977)<ref>Template:Cite web</ref><ref name="affectpoetics"/>
• Martin (1977)<ref name="martinref1">Template:Cite web</ref><ref name="martinref2">Template:Cite web</ref>
• New York, New York (1977)Template:Refn
• Opening Night (1977)<ref name="otherhollywoodrenaissance"/><ref name="flickchartsnewhollywood"/>
• The Other Side of Midnight (1977)<ref name="midnightwars">Template:Cite web</ref>
• The Private Files of J. Edgar Hoover (1977)<ref name="outsiders"/>
• Rolling Thunder (1977)Template:Refn
• Saturday Night Fever (1977)Template:Refn ≈
• Semi-Tough (1977)<ref name="disillusionment"/>
• The Sentinel (1977)<ref name="thesentinel">Template:Cite web</ref><ref name="universal70spt2">Template:Cite web</ref>
• September 30, 1955 (1977)<ref name="sept301955">Template:Cite web</ref>
• Short Eyes (1977)<ref name="shorteyes2">Template:Cite web</ref>
• Slap Shot (1977)Template:Refn
• Smokey and the Bandit (1977)<ref name="smokeybandit">Template:Cite web</ref>
• Sorcerer (1977)Template:Refn
• Star Wars (1977)Template:Refn ≈ ≠
• The Turning Point (1977)<ref name="theturningpoint">Template:Cite web</ref><ref name="betrayal"/>
• Twilight's Last Gleaming (1977)<ref name="retrenchment"/>
• Which Way Is Up? (1977)<ref name="universal70spt2" />
• Wizards (1977)<ref name="jewishnewwave"/>

1978–1979

• American Boy: A Profile of Steven Prince (1978)<ref name="disillusionment"/>
• American Hot Wax (1978)Template:Refn
• The Big Fix (1978)Template:Refn
• Big Wednesday (1978)Template:Refn
• Bloodbrothers (1978)<ref name="disillusionment"/>
• Blue Collar (1978)Template:Refn
• The Brink's Job (1978)<ref name="thebrinksjob1">Template:Cite web</ref><ref name="thebrinksjob2">Template:Cite web</ref>
• The Buddy Holly Story (1978)<ref name="buddyholly">Template:Cite news</ref><ref name="NHmusical"/>
• California Suite (1978)<ref name="betrayal"/>
• Capricorn One (1978)<ref name="capricornone">Capricorn One (1978) – Flickchart</ref>
• Coma (1978)<ref name="academia"/>
• Comes a Horseman (1978)<ref name="comesahorseman">Template:Cite web</ref><ref name="auteuristexcess">The Oxford Handbook of American Film History - Google Books (pg.488-491)</ref>
• Coming Home (1978)Template:Refn
• Convoy (1978)<ref name="nach1968"/><ref>Convoy (1978) – Flickchart</ref>
• Corvette Summer (1978)<ref>Revisited: Corvette Summer, A Hidden Gem of New Hollywood – Talkhouse</ref>
• Dawn of the Dead (1978)<ref name="filmmuseum.at"/>
• Days of Heaven (1978)Template:Refn ≈
• The Deer Hunter (1978)Template:Refn ≈ ≠
• The Driver (1978)Template:Refn
• Every Which Way but Loose (1978)<ref name="everywhichway">Template:Cite web</ref>
• Eyes of Laura Mars (1978)Template:Refn
• Fingers (1978)Template:Refn
• F.I.S.T. (1978)<ref name="fistfilm">Template:Cite web</ref>
• Foul Play (1978)<ref name="betrayal"/>
• The Fury (1978)<ref name="thefurymovie">Template:Cite web</ref>
• Girlfriends (1978)Template:Refn ≈
• Go Tell the Spartans (1978)<ref name="newhollywoodretrospective"/>
• Goin' South (1978)<ref name="Cinématographe">Cinématographe – No Bad Movie</ref>
• Grease (1978)Template:Refn ≈
• Halloween (1978)Template:Refn ≈
• Heaven Can Wait (1978)Template:Refn
• Ice Castles (1978)<ref name="disillusionment"/>
• Interiors (1978)Template:Sfn<ref name="fordtocity"/>
• Invasion of the Body Snatchers (1978)Template:Refn
• Killer of Sheep (1978)Template:Refn ≈
• King of the Gypsies (1978)<ref name="kinggypsies">Template:Cite web</ref>
• The Last Waltz (1978)Template:Refn ≈
• The Lord of the Rings (1978)<ref name="jewishnewwave"/>
• Magic (1978)<ref name="magic1978">Template:Cite web</ref>
• Midnight Express (1978)<ref name="flickchartsnewhollywood">Silver Screen Streak List #16: Flickchart's "New Hollywood" – Media Life Crisis</ref>
• Movie Movie (1978)<ref name="disillusionment"/>
• National Lampoon's Animal House (1978)Template:Refn ≈
• Northern Lights (1978)<ref name="artrebels">Art Rebels: Race, Class, and Gender in the Art of Miles Davis and Martin Scorsese – Google Books (pg.90)</ref>
• On the Yard (1978)<ref name="ontheyard">Template:Cite web</ref>
• Paradise Alley (1978)<ref>Paradise Alley (1978) – Flickchart</ref><ref name="tarantinospeculationpt2" />
• Remember My Name (1978)<ref name="disillusionment"/>
• Same Time, Next Year (1978)<ref name="sametimenextyear">Template:Cite magazine</ref>
• The Scenic Route (1978)<ref name="disillusionment"/>
• Sgt. Pepper's Lonely Hearts Club Band (1978)<ref name="broadwayinthebox"/><ref name="NHmusical"/>
• Stony Island (1978)<ref name="disillusionment"/>
• Straight Time (1978)Template:Refn
• Superman (1978)Template:Refn ≈
• Uncle Joe Shannon (1978)<ref name="disillusionment"/>
• An Unmarried Woman (1978)Template:Refn
• A Wedding (1978)<ref name="awedding">Template:Cite web</ref><ref name="newhollywoodrevisited"/>
• The Whole Shootin' Match (1978)<ref name="disillusionment"/>
• Who'll Stop the Rain (1978)Template:Refn
• The Wiz (1978)Template:Refn
• 10 (1979)<ref name="TVfallacy"/>
• 1941 (1979)Template:Refn
• Alien (1979)Template:Refn ≈
• All That Jazz (1979)Template:Refn ≈
• An Almost Perfect Affair (1979)<ref name="almostperfect">Template:Cite web</ref><ref name="disillusionment"/>
• Americathon (1979)<ref name="disillusionment"/>
• ...And Justice for All. (1979)Template:Refn
• Apocalypse Now (1979)Template:Refn<ref>25 Masterpieces of World Cinema Made during The New Hollywood Era – Page 2 – Taste of Cinema</ref> ≈ ≠
• Being There (1979)Template:Refn ≈
• The Black Stallion (1979)<ref name="blackstallion">Template:Cite web</ref> ≈
• Breaking Away (1979)<ref name="erathatbirthedmodernfilmmaking">Hollywood's Golden Ages: The 1970s|The Ankler</ref><ref name="TVfallacy"/>
• Bush Mama (1979)<ref name="outsiders"/> ≈
• Chilly Scenes of Winter (1979)Template:Refn
• The China Syndrome (1979)Template:Refn
• The Driller Killer (1979)<ref name="drillerkiller">Template:Cite web</ref>
• The Electric Horseman (1979)<ref>'The Electric Horseman' review by 🇵🇱 Steve G 🐝 · Letterboxd</ref>
• Escape from Alcatraz (1979)Template:Refn
• Going in Style (1979)<ref name="goinginstyle">Template:Cite web</ref>
• Good Luck, Miss Wyckoff (1979)<ref name="misswyckoff1">Template:Cite web</ref><ref name="misswyckoff2">Template:Cite web</ref>
• The Great Santini (1979)<ref name="greatsantini">Template:Cite web</ref>
• Hair (1979)<ref name="nach1968"/><ref name="TVfallacy">The New Hollywood: What the Movies Did with the New Freedoms of the Seventies – Google Books (pgs.217-222)</ref><ref name="50yearsagomyfairlady"/>
• Hardcore (1979)Template:Refn
• The In-Laws (1979)<ref name="theinlaws">Template:Cite web</ref><ref>'The In-Laws' review by James R. De Roxtra · Letterboxd</ref>
• Killing Time (1979)<ref name="adifferentpicture"/>
• Kramer vs. Kramer (1979)Template:Refn
• The Lady in Red (1979)<ref name="theladyinred">Template:Cite web</ref>
• Last Embrace (1979)<ref name="Cinématographe"/>
• Manhattan (1979)Template:Refn ≈
• More American Graffiti (1979)<ref name="moreamericangraffiti">Template:Cite web</ref>
• Natural Enemies (1979)<ref name="naturalenemies">Template:Cite web</ref>
• Norma Rae (1979)Template:Refn ≈
• North Dallas Forty (1979)<ref name="northdallas40">Template:Cite podcast</ref>
• Old Boyfriends (1979)<ref name="joantewkesbury">Template:Cite web</ref><ref name="oldboyfriends">Template:Cite web"</ref>
• The Onion Field (1979)Template:Refn
• Over the Edge (1979)<ref name="outsiders">The Outsiders: New Hollywood Cinema in the Seventies|BAMPFA</ref><ref name="ote79">Template:Cite web</ref>
• A Perfect Couple (1979)<ref name="altmanmusicals"/>
• Promises in the Dark (1979)<ref name="jeromehellmanobit">Template:Cite magazine</ref>
• Quintet (1979)<ref name="quintet">Template:Cite web</ref>
• Real Life (1979)<ref name="paramountinthe70s"/><ref name="reallife">Template:Cite web</ref>
• Rocky II (1979)<ref name="newhollywoodrevisited"/>
• The Rose (1979)<ref name="therose">Template:Cite web</ref><ref name="NHmusical"/>
• Saint Jack (1979)<ref name="saintjack">Template:Cite web</ref><ref name="disillusionment"/>
• The Seduction of Joe Tynan (1979)<ref name="seductionjoetynan">Template:Cite web</ref>
• Star Trek: The Motion Picture (1979)<ref name="newhollywoodblockbusters">Template:Cite book</ref>
• Starting Over (1979)<ref name="alanjpakula">Template:Cite web</ref><ref name="betrayal"/>
• The Wanderers (1979)<ref name="thewanderers">Template:Cite web</ref>
• The Warriors (1979)Template:Refn
• When a Stranger Calls (1979)<ref name="strangercalls">Template:Cite web</ref>
• When You Comin' Back, Red Ryder? (1979)<ref name="redryder">Template:Cite web</ref>
• Winter Kills (1979)Template:Refn
• Wise Blood (1979)<ref name="OG"/><ref name="inandoutofplace"/>

1980s–1990s

1980–1982

• 9 to 5 (1980)<ref name="betrayal"/><ref name="nach1968"/>
• Airplane! (1980)Template:Refn ≈
• American Gigolo (1980)Template:Refn
• Any Which Way You Can (1980)<ref name="betrayal"/>
• Atlantic City (1980)<ref name="atlanticcity">Template:Cite web</ref> ≈
• The Blue Lagoon (1980)<ref name="deadoralive"/>
• The Blues Brothers (1980)<ref name="deadoralive"/><ref name="onceuponapairofwheels"/> ≈
• Bronco Billy (1980)Template:Sfn<ref name="real80s"/>
• Brubaker (1980)<ref name="nach1968"/><ref name="betrayal"/>
• Can't Stop the Music (1980)<ref name="broadwayinthebox"/>
• Coal Miner's Daughter (1980)Template:Refn ≈
• Cruising (1980)Template:Refn
• Dressed to Kill (1980)Template:Refn
• The Elephant Man (1980)<ref name="deadoralive">Template:Cite magazine</ref>
• The Empire Strikes Back (1980)Template:Refn ≈
• Fame (1980)<ref name="musicalsofnewhollywood">Template:Cite web</ref><ref name="famefilm">Template:Cite web</ref> ≈
• The Fog (1980)<ref name="thefogfilm">Template:Cite web</ref>
• Gloria (1980)Template:Refn
• HealtH (1980)Template:Refn
• Heaven's Gate (1980)Template:Refn
• Honeysuckle Rose (1980)<ref name="disillusionment"/>
• Inside Moves (1980)<ref name="insidemoves1">Template:Cite web</ref><ref name="insidemoves2">Template:Cite web</ref>
• It's My Turn (1980)<ref name="welcomenightmares">Template:Cite book</ref>
• Just Tell Me What You Want (1980)<ref name="disillusionment"/>
• The Long Riders (1980)Template:Refn
• Melvin (and Howard) (1980)Template:Refn
• Night of the Juggler (1980)<ref name="nightjuggler">Template:Cite magazine</ref><ref name="disillusionment"/>
• The Ninth Configuration (1980)<ref name="9thconfiguration">Template:Cite web</ref><ref name="stacykeachNHperf"/>
• One-Trick Pony (1980)<ref name="1trickpony">Template:Cite web</ref>
• Ordinary People (1980)Template:Refn
• Out of the Blue (1980)<ref name="outoftheblue">Template:Cite web</ref><ref name="80soutcasts"/>
• Popeye (1980)Template:Refn<ref name="altmanmusicals">The Sound of Musicals – Google Books (ch. "Robert Altman and the New Hollywood Musical")</ref>
• Private Benjamin (1980)<ref name="nach1968"/>
• Raging Bull (1980)Template:Refn ≈ ≠
• Return of the Secaucus 7 (1980)<ref name="newhollywoodretrospective"/><ref name="nach1968"/> ≈
• Second-Hand Hearts (1980)<ref name="secondhandhearts">Template:Cite web</ref>
• The Shining (1980)Template:Refn ≈
• Stardust Memories (1980)Template:Refn
• Stir Crazy (1980)<ref name="deadoralive"/>
• The Stunt Man (1980)<ref name="talkingaboutgreatness">Template:Cite news</ref><ref name="thestuntman">Template:Cite web</ref>
• Superman II (1980)<ref name="superman2">Template:Cite web</ref>
• Urban Cowboy (1980)<ref name="nach1968"/><ref name="debrawingermubi"/>
• Willie & Phil (1980)<ref name="rosenbaum"/><ref name="jewishnewwave"/>
• Windows (1980)<ref name="windowsmovie">Template:Cite web</ref><ref name="disillusionment"/>
• Xanadu (1980)<ref name="broadwayinthebox">Broadway in the Box: Television's Lasting Love Affair with the Musical – Google Books (pg.128) ("A series of hits and misses attempted to embrace the synergistic impulses of the New Hollywood, with quasi-musicals or movies structured around their soundtracks and popular music stars hitting the screen: Grease, the Bee Gee's Sgt. Pepper's Lonely Hearts Club Band (1978), the Village People's Can't Stop the Music (1980), Olivia Newton-John's Xanadu (1980) and Dolly Parton's The Best Little Whorehouse in Texas (1982).")</ref><ref name="NHmusical"/>
• All Night Long (1981)<ref name="deadoralive"/><ref name="betrayal"/>
• ...All the Marbles (1981)<ref name="real80s"/>
• An American Werewolf in London (1981)<ref name="1981underrated?">Is 1981 the Most Underrated Movie Year Ever? – Film Cred</ref>
• Arthur (1981)<ref name="arthurfilm">Template:Cite web</ref>
• Blow Out (1981)Template:Refn
• Body Heat (1981)<ref name="bodyheat">Template:Cite web</ref>
• The Cannonball Run (1981)<ref name="deadoralive"/>
• Cutter's Way (1981)Template:Refn<ref>The Big Lebowski: 5 films that influenced the Coen brothers' 20-year-old cult classic|BFI</ref>
• Escape from New York (1981)Template:Refn
• The Evil Dead (1981)<ref name="1981underrated?"/>
• Fort Apache, the Bronx (1981)<ref name="fortapache">Template:Cite web</ref>
• Four Friends (1981)<ref name="arthurpenn">Template:Cite web</ref><ref name="nach1968"/>
• The Funhouse (1981)<ref name="tarantinospeculationpt2">Template:Cite web</ref>
• The Howling (1981)<ref name="thehowling">Template:Cite interview</ref><ref name="1981underrated?"/>
• Knightriders (1981)<ref name="real80s"/>
• Modern Romance (1981)<ref name="real80s"/>
• Mommie Dearest (1981)<ref name="1981underrated?"/>
• Ms. 45 (1981)<ref name="1981underrated?"/>
• On Golden Pond (1981)<ref name="nach1968"/>
• Outland (1981)<ref name="1981underrated?"/>
• Pennies from Heaven (1981)Template:Refn
• The Postman Always Rings Twice (1981)<ref name="filmsite.org"/><ref name="bodyheat"/>
• Prince of the City (1981)<ref name="princecity">Template:Cite web</ref><ref name="retrenchment"/>
• Raggedy Man (1981)<ref name="raggedyman">Template:Cite web</ref>
• Ragtime (1981)<ref name="ragtimefilm">Template:Cite web</ref>
• Raiders of the Lost Ark (1981)Template:Refn ≈ ≠
• Reds (1981)Template:Refn
• S.O.B. (1981)<ref name="sobfilm">Template:Cite web</ref>
• Southern Comfort (1981)Template:Refn
• They All Laughed (1981)<ref name="OG"/>
• Thief (1981)Template:Refn
• Whose Life Is It Anyway? (1981)<ref name="whoselife">Template:Cite web</ref>
• Wolfen (1981)<ref>Wolfen (1981)|Swampflix</ref>
• 48 Hrs. (1982)<ref name="storytellingNH"/>
• Annie (1982)<ref name="deadoralive"/>
• The Best Little Whorehouse in Texas (1982)<ref name="broadwayinthebox"/>
• Blade Runner (1982)Template:Refn ≈ ≠
• The Border (1982)<ref name="theborder">Template:Cite web</ref>
• Cannery Row (1982)<ref name="debrawingermubi"/>
• Cat People (1982)<ref name="otherhollywoodrenaissance"/><ref name="bodyheat"/>
• Come Back to the 5 & Dime, Jimmy Dean, Jimmy Dean (1982)<ref name="karenblackNH">Template:Cite web</ref>
• Conan the Barbarian (1982)<ref name="nach1968"/>
• Diner (1982)<ref name="brokawNH"/>
• E.T. the Extra-Terrestrial (1982)Template:Refn ≈ ≠
• Fast Times at Ridgemont High (1982)<ref name="real80s"/> ≈
• First Blood (1982)<ref name="newhollywoodthrillers"/><ref name="thedetective1968"/>
• The King of Comedy (1982)Template:Refn
• Lookin' to Get Out (1982)<ref name="flickchartsnewhollywood"/>
• Losing Ground (1982)<ref name="newhollywoodwomen"/> ≈
• A Midsummer Night's Sex Comedy (1982)<ref name="midsummersex">Template:Cite web</ref>
• Missing (1982)<ref name="nach1968"/>
• My Favorite Year (1982)<ref name="myfaveyear">Template:Cite web</ref>
• An Officer and a Gentlemen (1982)<ref name="betrayal"/><ref name="debrawingermubi"/><ref name="nach1968"/>
• One from the Heart (1982)Template:Refn
• Personal Best (1982)<ref name="personalbest">Template:Cite web</ref><ref>Personal Best BFI Essay FINAL.pdf</ref>
• Poltergeist (1982)Template:Refn
• Rocky III (1982)<ref name="newhollywoodrevisited"/>
• Shoot the Moon (1982)<ref name="newhollywoodrevisited">Template:Cite book</ref>
• Split Image (1982)<ref name="splitimage">Template:Cite web</ref>
• Star Trek II: The Wrath of Khan (1982)<ref name="81to99"/> ≈
• Summer Lovers (1982)<ref name="summerlovers">Template:Cite web</ref>
• The Thing (1982)Template:Refn
• Tootsie (1982)<ref name="brokawNH"/><ref name="storytellingNH"/> ≈ ≠
• TRON (1982)<ref name="81to99">Editing and Special/Visual Effects – Google Books (ch."The New Hollywood, 1981–1999: Special/Visual Effects")</ref>
• The Verdict (1982)<ref name="theverdict">Template:Cite web</ref>
• Victor/Victoria (1982)<ref name="victorvictoria">Template:Cite web</ref>
• White Dog (1982)<ref name="whitedog">Template:Cite web</ref>
• The World According to Garp (1982)<ref name="according2garp">Template:Cite web</ref>

1983–1987

• Baby It's You (1983)<ref name="babyitsyou">Template:Cite web</ref>
• The Big Chill (1983)Template:Refn
• Blue Thunder (1983)<ref name="vinegarapril20205"/><ref name="disillusionment"/>
• Breathless (1983)<ref name="collectiononscreen"/>
• Flashdance (1983)<ref name="brokawNH"/><ref name="NHmusical"/>
• Misunderstood (1983)<ref name="susananspach" />
• Mr. Mom (1983)<ref name="johnhughesNH"/>
• National Lampoon's Vacation (1983)<ref name="johnhughesNH"/>
• The Outsiders (1983)<ref name="nach1968"/><ref name="editing81to99">Editing and Special/Visual Effects – Google Books (ch. "The New Hollywood, 1981–1999: Editing")</ref>
• Return of the Jedi (1983)<ref name="GC"/><ref name="81to99"/> ≈
• The Right Stuff (1983)<ref name="nach1968"/> ≈
• Rumble Fish (1983)Template:Refn
• Silkwood (1983)<ref name="nach1968"/>
• Star 80 (1983)<ref name="otherhollywoodrenaissance"/>
• Suburbia (1983)<ref name="80soutcasts"/>
• Tender Mercies (1983)<ref name="real80s"/>
• Terms of Endearment (1983)<ref name="debrawingermubi"/><ref name="nach1968"/>
• Twilight Zone: The Movie (1983)Template:Refn
• Yentl (1983)<ref name="betrayal"/>
• Amadeus (1984)<ref name="storytellingNH"/> ≈ ≠
• Beverley Hills Cop (1984)<ref name="brokawNH"/> ≈
• Blood Simple (1984)<ref name="newhollywoodneonoirs"/><ref>Blood SImple – Offscreen</ref>
• Body Double (1984)<ref name="newhollywoodneonoirs"/>
• The Brother from Another Planet (1984)<ref name="broanotherplanet">Template:Cite web</ref>
• Choose Me (1984)<ref name="chooseme">Template:Cite web</ref>
• The Cotton Club (1984)<ref name="nach1968"/>
• Footloose (1984)<ref name="NHmusical">Genre and Contemporary Hollywood – Google Books (ch."The New Hollywood Musical: From Saturday Night Fever to Footloose)</ref>
• Gremlins (1984)<ref name="wb100"/><ref name="cameron&hollis"/>
• Heartbreakers (1984)<ref name="heartbreakersfilm">Template:Cite web</ref>
• Indiana Jones and the Temple of Doom (1984)<ref name="81to99"/><ref name="onlocation"/>
• Mike's Murder (1984)Template:Refn
• Moscow on the Hudson (1984)<ref name="nach1968"/>
• A Nightmare on Elm Street (1984)<ref name="nightmareseries">Template:Cite journal</ref><ref name="thefogfilm"/> ≈
• Paris, Texas (1984)<ref name="paristexas">Template:Cite web</ref><ref name="80soutcasts"/>
• Places in the Heart (1984)<ref name="nach1968"/>
• Purple Rain (1984)<ref name="NHmusical"/> ≈
• Repo Man (1984)<ref name="inandoutofplace">The Cinema of Sean Penn: In and Out of Place – Google Books (pg.92)</ref><ref name="80soutcasts"/>
• Sixteen Candles (1984)<ref name="johnhughesNH" />
• Splash (1984)<ref name="brokawNH"/>
• Starman (1984)<ref name="real80s"/>
• Star Trek III: The Search for Spock (1984)<ref name="81to99"/>
• Streets of Fire (1984)<ref name="streetsoffire">Template:Cite web</ref>
• Streetwise (1984)<ref name="80soutcasts"/>
• The Terminator (1984)<ref name="cameron&hollis">Template:Cite book</ref> ≈
• This Is Spinal Tap (1984)<ref name="brokawNH"/> ≈
• Top Secret! (1984)<ref name="kentuckyfried" />
• After Hours (1985)<ref name="americanrevolution"/><ref name="afterhours">Template:Cite web</ref>
• Back to the Future (1985)<ref name="storytellingNH">Template:Cite book</ref><ref name="newharmonies">New Harmonies of America – Budapest Classics Film Marathon – NFI</ref> ≈
• The Breakfast Club (1985)<ref name="johnhughesNH" /> ≈
• Clue (1985)<ref name="cluefilm">Template:Cite web</ref>
• Day of the Dead (1985)<ref name="real80s"/>
• Desperately Seeking Susan (1985)<ref name="storytellingNH"/><ref name="cameron&hollis"/> ≈
• The Goonies (1985)<ref name="wb100"/> ≈
• The Legend of Billie Jean (1985)<ref name="legendbilliejean">Template:Cite web</ref>
• Mask (1985)<ref name="maskfilm">Template:Cite web</ref>
• Mishima: A Life in Four Chapters (1985)<ref name="storytellingNH"/>
• National Lampoon's European Vacation (1985)<ref name="johnhughesNH"/>
• Out of Africa (1985)<ref name="brokawNH"/>
• Rocky IV (1985)<ref name="rocky4">Template:Cite journal</ref>
• Smooth Talk (1985)<ref name="80soutcasts"/>
• To Live and Die in L.A. (1985)<ref name="toliveanddieinla">Template:Cite magazine</ref><ref name="newhollywoodrevisited"/><ref name="nach1968"/>
• Trouble in Mind (1985)<ref name="troubleinmind">Template:Cite news</ref>
• Weird Science (1985)<ref name="johnhughesNH" />
• Witness (1985)<ref name="storytellingNH"/>
• Year of the Dragon (1985)<ref name="nach1968"/>
• 8 Million Ways to Die (1986)<ref name="toliveanddieinla" />
• 52 Pick-Up (1986)<ref name="toliveanddieinla" />
• Aliens (1986)<ref name="brokawNH"/>
• The Big Easy (1986)<ref name="cameron&hollis"/>
• Blue Velvet (1986)<ref name="cameron&hollis"/>
• Children of a Lesser God (1986)<ref name="cameron&hollis"/>
• The Color of Money (1986)<ref name="nach1968"/>
• Ferris Bueller's Day Off (1986)<ref name="johnhughesNH" /> ≈
• The Fly (1986)<ref name="americanrevolution"/><ref name="81to99"/>
• Hannah and Her Sisters (1986)<ref name="storytellingNH"/>
• Legal Eagles (1986)<ref name="debrawingermubi"/>
• Little Shop of Horrors (1986)<ref name="storytellingNH"/>
• Manhunter (1986)<ref name="cameron&hollis"/>
• Parting Glances (1986)<ref name="80soutcasts">Template:Cite magazine</ref>
• Platoon (1986)Template:Refn ≈ ≠
• Pretty in Pink (1986)<ref name="johnhughesNH">Template:Cite book</ref>
• River's Edge (1986)<ref name="cameron&hollis"/><ref name="80soutcasts"/>
• Salvador (1986)<ref name="brokawNH"/>
• She's Gotta Have It (1986)<ref name="brokawNH"/> ≈
• Stand by Me (1986)<ref name="brokawNH"/>
• Star Trek IV: The Voyage Home (1986)<ref name="81to99"/>
• Top Gun (1986)<ref name="brokawNH"/><ref name="editing81to99"/> ≈
• Beverley Hills Cop II (1987)<ref name="brokawNH"/>
• Black Widow (1987)<ref name="debrawingermubi"/>
• Dirty Dancing (1987)<ref name="NHmusical"/><ref name="onlocation"/> ≈
• Fatal Attraction (1987)<ref name="fatalattraction">Template:Cite magazine</ref>
• Full Metal Jacket (1987)<ref name="armageddontime"/>
• The Hidden (1987)<ref name="80soutcasts"/>
• Lethal Weapon (1987)<ref name="tnac"/><ref name="storytellingNH"/>
• The Lost Boys (1987)<ref name="wb100"/>
• Moonstruck (1987)<ref name="brokawNH"/>
• Near Dark (1987)<ref name="neardark">Template:Cite magazine</ref>
• No Way Out (1987)<ref name="real80s"/>
• Planes, Trains and Automobiles (1987)<ref name="johnhughesNH"/>
• The Princess Bride (1987)<ref name="brokawNH"/> ≈
• Raising Arizona (1987)<ref name="80soutcasts"/>
• Robocop (1987)<ref name="real80s"/>
• Some Kind of Wonderful (1987)<ref name="real80s"/><ref name="johnhughesNH" />
• Someone to Watch Over Me (1987)<ref name="real80s"/>
• Tin Men (1987)<ref name="brokawNH"/>
• The Untouchables (1987)<ref name="brokawNH"/>
• Wall Street (1987)<ref name="brokawNH"/>

1988–1999

• Beetlejuice (1988)<ref name="81to99"/>
• Betrayed (1988)<ref name="debrawingermubi"/>
• Crossing Delancey (1988)<ref name="crossingdelancey">Template:Cite web</ref><ref name="80soutcasts"/>
• Die Hard (1988)<ref name="tnac">The New American Cinema – Google Books</ref> ≈
• Heathers (1988)<ref name="christianslater"/>
• Lady in White (1988)<ref name="real80s"/>
• The Last Temptation of Christ (1988)<ref name="inandoutofplace"/><ref name="nach1968"/>
• Midnight Run (1988)<ref name="midnightrun">Template:Cite web</ref>
• Miracle Mile (1988)<ref name="miraclemile">Template:Cite web</ref>
• The Naked Gun: From the Files of Police Squad! (1988)<ref name="kentuckyfried" />
• Rain Man (1988)<ref name="brokawNH"/>
• Running on Empty (1988)<ref name="80soutcasts"/>
• She's Having a Baby (1988)<ref name="johnhughesNH"/>
• The Thin Blue Line (1988)<ref name="storytellingNH"/> ≈
• Working Girl (1988)<ref name="nach1968"/>
• The Abyss (1989)<ref name="81to99"/>
• Batman (1989)<ref name="brokawNH"/><ref name="threecasestudies"/><ref name="onlocation"/>
• Born on the Fourth of July (1989)<ref name="brokawNH"/><ref name="tnac"/>
• Casualties of War (1989)<ref name="brokawNH"/>
• Do the Right Thing (1989)Template:Refn ≈ ≠
• Driving Miss Daisy (1989)<ref name="onlocation">Hollywood on Location: An Industry History – Google Books (ch."The New Hollywood 1980-1999)</ref>
• Gleaming the Cube (1989)<ref name="christianslater"/>
• Honey, I Shrunk the Kids (1989)<ref name="81to99"/>
• Indiana Jones and the Last Crusade (1989)<ref name="81to99"/>
• Look Who's Talking (1989)<ref name="cameron&hollis"/>
• National Lampoon's Christmas Vacation (1989)<ref name="johnhughesNH"/>
• Parenthood (1989)<ref name="brokawNH"/><ref name="storytellingNH"/>
• Sex, Lies, and Videotape (1989)Template:Refn ≈
• Steel Magnolias (1989)<ref name="brokawNH"/>
• Uncle Buck (1989)<ref name="johnhughesNH"/>
• When Harry Met Sally... (1989)<ref name="brokawNH"/> ≈
• Avalon (1990)<ref name="brokawNH"/>
• Days of Thunder (1990)<ref name="brokawNH">The New Hollywood – Tom Brokaw on Internet Archive</ref>
• Downtown (1990)<ref name="brokawNH"/>
• Edward Scissorhands (1990)<ref name="storytellingNH"/><ref name="onlocation"/>
• GoodFellas (1990)<ref name="goodfellas">Template:Cite web</ref> ≈ ≠
• Havana (1990)<ref name="brokawNH"/>
• Home Alone (1990)<ref name="johnhughesNH" /> ≈
• The Hunt for Red October (1990)<ref name="storytellingNH"/>
• Internal Affairs (1990)<ref name="cameron&hollis"/>
• Joe Versus the Volcano (1990)<ref name="brokawNH"/>
• Mo' Better Blues (1990)<ref name="brokawNH"/>
• Pump Up the Volume (1990)<ref name="christianslater">Template:Cite web</ref>
• Slacker (1990)<ref name="cinemazeitgeist"/><ref name="onlocation"/> ≈
• Wild at Heart (1990)<ref name="cameron&hollis"/>
• Boyz n the Hood (1991)<ref name="boyznthehood">Template:Cite web</ref> ≈
• Curly Sue (1991)<ref name="johnhughesNH"/>
• The Doors (1991)<ref name="brokawNH"/>
• Fried Green Tomatoes (1991)<ref name="onlocation"/>
• JFK (1991)<ref name="tnac"/>
• My Own Private Idaho (1991)<ref name="cinemazeitgeist"/> ≈
• A Rage in Harlem (1991)<ref name="cameron&hollis"/>
• The Silence of the Lambs (1991)Template:Refn ≈ ≠
• Sleeping with the Enemy (1991)<ref name="cameron&hollis"/>
• Terminator 2: Judgement Day (1991)<ref name="81to99"/><ref name="storytellingNH"/> ≈
• Thelma & Louise (1991)<ref name="storytellingNH"/> ≈
• The Bodyguard (1992)<ref name="storytellingNH"/>
• Home Alone 2: Lost in New York (1992)<ref name="johnhughesNH"/>
• Husbands and Wives (1992)<ref name="husbands&wives">Template:Cite web</ref>
• The Last of the Mohicans (1992)<ref name="lastmohicans">Template:Cite news</ref>
• Laws of Gravity (1992)<ref name="onlocation"/>
• The Living End (1992)<ref name="onlocation"/>
• Malcolm X (1992)<ref name="malcolmx">Template:Cite web</ref> ≈
• My Cousin Vinny (1992)<ref name="onlocation"/>
• The Player (1992)<ref name="nach1968"/>
• Dazed and Confused (1993)<ref name="onlocation"/>
• The Fugitive (1993)<ref name="storytellingNH"/>
• Groundhog Day (1993)<ref name="storytellingNH"/> ≈
• Jurassic Park (1993)<ref name="81to99"/> ≈
• Short Cuts (1993)<ref name="nach1968"/>
• Sleepless in Seattle (1993)<ref name="storytellingNH"/>
• True Romance (1993)<ref name="christianslater"/>
• Clerks (1994)<ref name="cinemazeitgeist">Template:Cite magazine</ref><ref name="jamestobackfilm" /> ≈
• Forrest Gump (1994)<ref name="onlocation"/> ≈ ≠
• Go Fish (1994)<ref name="onlocation"/>
• Pulp Fiction (1994)<ref name="jamestobackfilm">Template:Cite magazine</ref> ≈ ≠
• Serial Mom (1994)<ref name="serialmom">Template:Cite news</ref>
• Speed (1994)<ref name="storytellingNH"/>
• Bad Boys (1995)<ref name="editing81to99"/>
• Dead Man Walking (1995)<ref name="storytellingNH"/>
• The Doom Generation (1995)<ref name="cinemazeitgeist"/>
• Heat (1995)<ref name="storytellingNH"/>
• Kids (1995)<ref name="cinemazeitgeist"/>
• Se7en (1995)<ref name="sevenfilm">Template:Cite web</ref>
• Strange Days (1995)<ref name="strangedays">Template:Cite web</ref>
• Toy Story (1995)<ref name="81to99"/> ≈ ≠
• From Dusk Till Dawn (1996)<ref name="neardark"/>
• Mission: Impossible (1996)<ref name="storytellingNH"/>
• Muppet Treasure Island (1996)<ref name="storytellingNH"/>
• Liar Liar (1997)<ref name="storytellingNH"/>
• Titanic (1997)<ref name="81to99"/> ≈ ≠
• Armageddon (1998)<ref name="editing81to99"/>
• Dark City (1998)<ref name="81to99"/>
• Fight Club (1999)<ref name="81to99"/>
• The Matrix (1999)<ref name="81to99"/> ≈

Notes

• ≈ Indicates a National Film Registry inductee.
• ≠ Indicates an AFI's 100 Years...100 Movies entry.

See also

• Template:Anl
• Template:Anl
• A Decade Under the Influence – The 2003 documentary about the New Hollywood
• Easy Riders, Raging Bulls – Peter Biskind's controversial account of this era of filmmaking
• Exploitation film – Popular during that time
• Template:Anl
• L.A. Rebellion – Alternative African-American cinema in the 1970s–1980s
• Template:Anl
• Midnight movie – Popular during this era
• Template:Anl
• Template:Anl
• Z Channel: A Magnificent Obsession – 2004 documentary about the troubled life of programmer Jerry Harvey and his California-based movie channel that aired director's cut editions of films such as The Wild Bunch and Heaven's Gate

References

Bibliography

• Template:Cite book
• Biskind, Peter (1990). The Godfather Companion: Everything You Ever Wanted to Know About All Three Godfather Films (HarperPerennial)
• Template:Cite book
• Template:Cite book
• Cook, David A. "Auteur Cinema and the film generation in 70s Hollywood", in The New American Cinema. Ed. by Jon Lewis. NY: Duke University Press, 1998, pp. 1–37
• Template:Cite book
• Harris, Mark. Scenes from a Revolution: The Birth of the New Hollywood. Canongate Books, 2009.
• James, David E. Allegories of Cinema: American Film in the Sixties. NY: Princeton University Press, 1989, pp. 1–42
• Kael, Pauline. "Bonnie and Clyde", in For Keeps. Ed. by Pauline Kael. NY: Plume, 1994, pp. 141–57.
• Kael, Pauline. "Trash, Art, and the Movies", in Going Steady: Film Writings 1968–69. NY: Marion Boyers, 1994, pp. 87–129
• Kanfer, Stefan, "The Shock of Freedom in Films", Time Magazine, December 8, 1967, Accessed April 25, 2009, [1]
• Template:Cite book
• Template:Cite book
• Template:Cite book
• Template:Cite book
• Road Trip to Nowhere: Hollywood Encounters the Counterculture, Jon Lewis, 2022
• Template:Cite book
• Template:Cite book
• Template:Cite book
• New Wave, New Hollywood: Reassessment, Recovery and Legacy, Nathan Abram and Gregory Frame, 2021

External links

• "The First Five Years of the 70s" episode of Siskel and Ebert
• The American Revolution – DGA Template:Webarchive
• "The Film School Generation" episode of American Cinema at Annenberg Learner