Hollywood in the 1980s

Continued part 1, part 2 of ebook "A history of American movies: A film-by-film look at the art, craft, and business of cinema" provide readers with content about: new Hollywood; origins of Hollywood divided; mixed styles, mixed messages; Hollywood in the 1980s; new Hollywood enters the digital age;... Please refer to the part 2 of ebook for details!

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By the early 1980s, mer- chandising was added to the mix, so tie-ins with fast-food chains, automo- bile companies, and lines of toys and apparel could keep selling the movie. Scripts that lent themselves to mass marketing had a better chance of being acquired, and screenwriters were encouraged to incorporate special effects. Unlike studio-era productions, the megapicture could lead a robust afterlife on a soundtrack album, on cable channels, and on videocassette. By the mid-1980s, once overseas income and ancillaries were reckoned in, few films lost money....

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Addiction has appeared on the movie screen since Edison's earliest films (Starks, 1982); however, the now familiar images of modem institutional treatment did not appear until the late 1980s. After a decade of American cultural backlash against addicts and drug treatment during the years of the Reagan administration, public opinion seemed to shift throughout the 1990s toward encouraging people with substance-abuse problems to get help (White, 1998). Since that time, Hollywood has released several works with narratives focused on institutional treatment of addiction....

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But another crucial aspect of the New Hollywood, and one that may help maintain the formal-aesthetic integrity of its movies, is the parallel development of independent films and filmmaking. Throughout the 1980s and 1990s, the studios’ blockbuster mentality has been offset by an unprecedented “indie boom.” Consequently, the film industry has been increasingly split between big-budget, franchise-spawning, global-marketed blockbusters and low-budget “specialty films” designed for carefully targeted niche markets.

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Hollywood’s loss, in terms of the general narrowing of the horizons of possibility at the heart of the studio-led machine, was to be the gain of a newly consolidating form of independent production and distribution that was beginning to take shape during the 1980s, and into which some of the inheritance of the Renaissance was carried. The term ‘independent’ has had rather different connotations at different periods in the history of American cinema. In the 1930s, for example, it signified ‘something less than trash’.

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If this was a version of independence that was nakedly commercial in intent, the independent scene of the later 1950s and 1960s also saw a flowering of more ‘artistic’ and in some cases ‘avant- garde’ independent filmmaking. The birth of something akin to an ‘American New Wave’, to match those of contemporary European cinema, was announced in the early 1960s. The more narrative- and character-led manifestations of this development – films such as John Cassavetes’ Shadows (1960) – can be seen as direct predecessors of the indie scene of the 1980s and 1990s. ...

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The principal focus of American Independent Cinema is on the particular versions of independent cinema that came to prominence from the mid 1980s with the appearance of milestone films such as Stranger Than Paradise (Jim Jarmusch, 1984), sex, lies, and videotape (Steven Soderbergh, 1989) and Clerks (Kevin Smith, 1994).

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