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FLM 146 — The New Hollywood: Revolution in American Cinema, 1967-1975

Quarter: Summer
Day(s): Tuesdays
Course Format: Live Online (About Formats)
Duration: 10 weeks
Date(s): Jun 22—Aug 24
Time: 7:00—8:50 pm (PT)
Refund Deadline: Jun 24
Units: 2
Grade Restriction: No letter grade
Tuition: $435
Instructor(s): Elliot Lavine
Class Recording Available: Yes
Status: Open
DOWNLOAD THE SYLLABUS » (subject to change)
Live Online(About Formats)
7:00—8:50 pm (PT)
Jun 22—Aug 24
10 weeks
Refund Date
Jun 24
2 Units
Grade Restriction
No letter grade
Elliot Lavine
DOWNLOAD THE SYLLABUS » (subject to change)
After thirty years of strict enforcement of the Motion Picture Production Code, Hollywood finally, in the mid-1960s, triumphantly smashed the shackles of censorship and proudly proclaimed its independence from the puritanical constraints that had defined the very nature of commercial American moviemaking. Domestic films exploded with fresh urgency across movie screens, and over time, provocative subject matter, coarse language, a preoccupation with violence, and increasingly more sexual content became commonplace.

In this course, we will view up to ten films from this fertile, adventurous period in Hollywood history, and take a reflective look at the events of the times when each was made—the Vietnam War, racial tensions tearing American cities apart, growing mistrust of political leadership, and a burgeoning sexual revolution, to name a few. Our tentative viewing list includes The Graduate (1967; Mike Nichols), Point Blank (1967; John Boorman), The Swimmer (1968; Frank Perry), Medium Cool (1969; Haskell Wexler), Drive, He Said (1971; Jack Nicholson), Badlands (1973; Terrence Malick), The Long Goodbye (1973; Robert Altman), and The Conversation (1974; Francis Ford Coppola). These exciting new filmmakers, among others, helped reinvent American cinema during this time. Seemingly, all bets were off as Hollywood now entered a bold and provocative new chapter of its ever-evolving history.

All films can be rented or streamed instantly through Netflix, Amazon Prime, iTunes, Google Play Movies, or other online platforms.


Elliot Lavine has been a film programmer and filmmaker for more than thirty years. He was an instructor in Film Studies at Oregon State. In 2010, he received the Marlon Riggs Award from the San Francisco Film Critics Circle for his revival of rare archival titles and his role in the renewed popularity of film noir.