Explore the vast range of titles available.

Of all the New Hollywood films, Easy Rider (1969) perhaps most effectively demonstrates the potential complexity of the rock compilation soundtrack. Drawing on concepts from film studies, film musicology, and literary theory, this article discusses how Easy Rider demonstrates the compilation soundtrack’s potential to generate meanings both interand intratextually. The intertextual method of interpreting pop compilation soundtracks looks deeply into the intersection of image, sound, and narrative on a vertical axis, considering the relationship between dialogue / image / plot point and song lyrics / musical style, the ways that the songs on these soundtracks communicate to audiences the thematic or diegetic significance of a given moment, and how these synthetic meanings apply to various characters / situations in the diegesis. Intratextual readings work horizontally to show the cyclical relationships between audiovisual set-pieces and the ways that these relationships clarify or enhance narrative themes. Attention to the intratextual function shows that despite the frequent concern that popular songs can disrupt the integrity of a filmic narrative, popular music soundtracks can in fact feature their own modes of large-scale, structural function. This film’s soundtrack allows viewers to experience Easy Rider in dual registers; narrative threads connect to other narrative threads, musical set-pieces connect to musical set-pieces, and all of the elements together comprise one audiovisual complex.

The New Hollywood era of the late 1960s and early 1970s has become one of the most romanticized periods in motion picture history, celebrated for its stylistic boldness, thematic complexity, and the unshackling of directorial ambition.The Limits of Auteurismaims to challenge many of these assumptions. Beginning with the commercial success ofEasy Riderin 1969, and ending two years later with the critical and commercial failure of that film's twin progeny,The Last MovieandThe Hired Hand, Nicholas Godfrey surveys a key moment that defined the subsequent aesthetic parameters of American commercial art cinema.The book explores the role that contemporary critics played in determining how the movies of this period were understood and how, in turn, strategies of distribution influenced critical responses and dictated the conditions of entry into the rapidly codifying New Hollywood canon. Focusing on a small number of industrially significant films, this new history advances our understanding of this important moment of transition from Classical to contemporary modes of production.

American culture changed radically over the course of the 1960s, and the culture of Hollywood was no exception. The film industry began the decade confidently churning out epic spectacles and lavish musicals, but became flummoxed as new aesthetics and modes of production emerged, and low-budget youth pictures likeEasy Riderbecame commercial hits.New Constellations: Movie Stars of the 1960stells the story of the final glory days of the studio system and changing conceptions of stardom, considering such Hollywood icons as Elizabeth Taylor and Paul Newman alongside such hallmarks of youth culture as Mia Farrow and Dustin Hoffman. Others, like Sidney Poitier and Peter Sellers, took advantage of the developing independent and international film markets to craft truly groundbreaking screen personae. And some were simply \"famous for being famous,\" with celebrities like Zsa Zsa Gabor and Edie Sedgwick paving the way for today's reality stars.

The Road Movie Book is the first comprehensive study of an enduring but ever-changing Hollywood genre, its place in American culture, and its legacy to world cinema. The road and the cinema both flourished in the twentieth century, as technological advances brought motion pictures to a mass audience and the mass produced automobile opened up the road to the ordinary American. When Jean Baudrillard equated modern American culture with 'space, speed, cinema, technology' he could just as easily have added that the road movie is its supreme emblem. The contributors explore how the road movie has confronted and represented issues of nationhood, sexuality, gender, class and race. They map the generic terrain of the road movie, trace its evolution on American television as well as on the big screen from the 1930s through the 1980s, and, finally, consider road movies that go off the road, departing from the US landscape or travelling on the margins of contemporary American culture. Movies discussed include: * Road classics such as It Happened One Night , The Grapes of Wrath , The Wizard of Oz and the Bob Hope-Bing Crosby Road to films * 1960's reworkings of the road movie in Easy Rider and Bonnie and Clyde * Russ Meyer's road movies: from Motorpsycho! to Faster Pussycat! Kill! Kill! * Contemporary hits such as Paris Texas, Rain Man, Natural Born Killers and Thelma and Louise * The road movie, Australian style, from Mad Max to the Adventures of Priscilla, Queen of the Desert.

There have been, of course, many New Hollywoods. In an industry whose only constant has been change – technological, economic, and aesthetic – there is an almost perennial invocation of a New Hollywood emerging from the Old. Both cinephiles and business historians agree, though, that the New Hollywood came into being as a result of a series of dramatic changes in the film industry. This new context was also shaped by the film industry's shifting relationship to its audiences, as well as the changing nature of these audiences. The revision of Hollywood's cinematic grammar is vividly evident in Easy Rider , whose small budget and runaway success helped convince the major studios to invest in youth‐oriented (or youth cult) films. Furthermore, its production history and stylistic commitments provide a nearly synoptic index of New Hollywood traits.

This chapter explores the many roles of travel in culture and cinemas. For centuries, roads have served a range of purposes both physically and symbolically. The roads built by early Romans unified an empire, bearing military troops and Latin culture over three continents and returning wealth and power back to Rome. Easy Rider , like most road pictures, is populated with a range of characters from different social groups, including the townies, commune hippies, and brothel girls. Scholars point out certain cinematic features of Easy Rider that typify the genre's visual and tonal style. Dennis Hopper, who directed Easy Rider , was among the young, independent‐minded filmmakers who pointed Hollywood in a new direction at a time when the old studio system needed young blood and fresh ideas. The literary work closest to Easy Rider in spirit and in time undoubtedly is Jack Kerouac's autobiographical novel, On the Road .

How nostalgic it feels -- so much of a time and place, free-floating memories of hippies and communes and rebellion, when pot had absolutely no medicinal value but was a good thing nevertheless.

The 1969 film starring Peter Fonda and Dennis Hopper (who also directed), as well as Jack Nicholson in the role that made him a star, has influ- enced nearly every American road movie since it was pro- duced and given voice to a gen- eration no longer willing to live by rigid post-WWII rules.

During a 1967 visit to Toronto promoting his role in Roger Corman's The Trip, Fonda retired to his motel room (which was pretty seedy) to sign publicity stills from The Trip and his previous film Wild Angels. Fonda recalled running into some of the musicians at an airport, where they greeted him with a hearty: \"Hey, Fonda, you kept us in pot all year long!\" Speaking of which:

Before filming began in 1968, Fonda and Dennis Hopper, his \"Easy Rider\" director and costar, bought four used Harley-Davidson motorcycles at a Los Angeles Police Department auction. Granger got a \"Certificate of Declaration,\" signed by the auctioneer but naming Haggerty and his partners as the sellers, stating, \"This Captain America motorcycle has been certified and guaranteed by the seller as the original motorcycle used in the crash sequence on the 1969 film 'Easy Rider' ...\"