Dominic Lennard is a Teaching Fellow in the Pre-degree Programs at the University of Tasmania. He is theauthor of Bad Seeds and Holy Terrors: The Child Villains of Horror Film (SUNY Press, 2014) and BruteForce: Animal Horror Movies (SUNY, 2019).R. Barton Palmer is Calhoun Lemon Professor of Literature Emeritus at Clemson University. He is the author, editor, or general editor of many books including Hollywood’s Dark Cinema: The American Film Noir (1994), After Hitchcock: Influence, Imitation, and Intertextuality (2006), and A Little Solitaire: John Frankenheimer and American Film (2011). He is the series editor for EUP’s traditions in World Cinema, Traditions in American Cinema and International Film Stars series, and he is co-editor of five recent EUP books: Michael Mann, George Cukor, Film Noir, International Noir and The Other Hollywood Renaissance. Murray Pomerance is an independent scholar living in Toronto and Adjunct Professor in the School of Media and Communication at RMIT University, Melbourne. He is the author of The Film Cheat: Screen Artifice and Viewing Pleasure (2020), Grammatical Dreams (2020), Virtuoso: Film Performance and the Actor’s Magic (2019), A Dream of Hitchcock (2019), and Cinema, If You Please: The Memory of Taste, the Taste of Memory (2018), among many other volumes, and editor or co-editor of more than two dozen books including The Other Hollywood Renaissance (2020). He edits the “Horizons of Cinema” series at SUNY Press and the “Techniques of the Moving Image” series at Rutgers. A Voyage with Hitchcock and Color It True: Impressions of Cinema are both forthcoming.

The Other Hollywood Renaissance is an extraordinary volume which testifies to the incredible richness of 1970s cinema. These 23 concise, eloquent and keenly insightful auteurist essays, expertly assembled, recover and re-examine the considerable achievements of a wide array of directors, ranging from the highly esteemed and well-known (Sidney Lumet, Mike Nichols and Terrence Malick) to the highly neglected (John Boorman, Elaine May and Alan Rudolph). Like the best critics, these authors compel us to watch the films anew with a fresh appreciation of their directors' work.

• List of contributorsIntroduction, R. Barton Palmer and Murray Pomerance1. Hal Ashby, Gentle Giant Brenda Austin-Smith2. Remaking Gender in the Early Films of Peter BogdanovichDouglas McFarland3. In Extremis: John Boorman’s Cinema of DislocationIna Rae Hark4. John Cassavetes: In Your Face and Off the GridRebecca Bell-Metereau5. “Let Me Love You”: Ambiguous Masculinity in Michael Cimino’s MelodramasI-Lien Tsay6. De Palma’s Embattled Red Period: Hitchcock, Gender, Genre, and PostmodernismLinda Badley7. Escape from Escapism: Bob Fosse and the Hollywood RenaissanceDennis Bingham8. The Little Deaths of John FrankenheimerDaniel Varndell9. William Friedkin: Frayed ConnectionsDominic Lennard10. Sidney Lumet and the New HollywoodDavid Desser11. Terrence Malick’s Emergent Lyricism in Badlands and Days of HeavenRick Warner12. Elaine May: Subverting Machismo “Step by Tiny Step” Kyle Stevens13. Paul Mazursky: The New Hollywood’s Forgotten ManLester D. Friedman14. New Hollywood Crossover: Joan Micklin Silver & the Indie-Studio DivideMaya Montañez Smukler15. Mike Nichols and the Hollywood Renaissance: A Cinema of Cultural InvestigationNancy Roche16. “There will be no questions”: 1970s American Cinema as Parallax in Alan J. Pakula’s ‘Paranoia Trilogy’Terence McSweeney17. Genres of the Modern Mythic in the Films of Sam PeckinpahDaniel Sacco18. Bob Rafelson’s Ambivalent AuthorshipVincent Longo19. We’ve Never Danced: Alan Rudolph’s Welcome to L.A. and Remember My NameSteven Rybin20. Jerry Schatzberg’s Downfall Portraits: His Cinema of LonelinessR. Barton Palmer21. Inside John Schlesinger OutsideMurray Pomerance22. Fire and Ice: Paul SchraderConstantine Verevis23. Peter Yates: On Location in the New HollywoodJonathan Kirshner

Dominic Lennard is a Teaching Fellow in the Pre-degree Programs at the University of Tasmania. He is theauthor of Bad Seeds and Holy Terrors: The Child Villains of Horror Film (SUNY Press, 2014) and BruteForce: Animal Horror Movies (SUNY, 2019).R. Barton Palmer is Calhoun Lemon Professor of Literature Emeritus at Clemson University. He is the author, editor, or general editor of many books including Hollywood’s Dark Cinema: The American Film Noir (1994), After Hitchcock: Influence, Imitation, and Intertextuality (2006), and A Little Solitaire: John Frankenheimer and American Film (2011). He is the series editor for EUP’s traditions in World Cinema, Traditions in American Cinema and International Film Stars series, and he is co-editor of five recent EUP books: Michael Mann, George Cukor, Film Noir, International Noir and The Other Hollywood Renaissance. Murray Pomerance is an independent scholar living in Toronto and Adjunct Professor in the School of Media and Communication at RMIT University, Melbourne. He is the author of The Film Cheat: Screen Artifice and Viewing Pleasure (2020), Grammatical Dreams (2020), Virtuoso: Film Performance and the Actor’s Magic (2019), A Dream of Hitchcock (2019), and Cinema, If You Please: The Memory of Taste, the Taste of Memory (2018), among many other volumes, and editor or co-editor of more than two dozen books including The Other Hollywood Renaissance (2020). He edits the “Horizons of Cinema” series at SUNY Press and the “Techniques of the Moving Image” series at Rutgers. A Voyage with Hitchcock and Color It True: Impressions of Cinema are both forthcoming.

The Other Hollywood Renaissance is an extraordinary volume which testifies to the incredible richness of 1970s cinema. These 23 concise, eloquent and keenly insightful auteurist essays, expertly assembled, recover and re-examine the considerable achievements of a wide array of directors, ranging from the highly esteemed and well-known (Sidney Lumet, Mike Nichols and Terrence Malick) to the highly neglected (John Boorman, Elaine May and Alan Rudolph). Like the best critics, these authors compel us to watch the films anew with a fresh appreciation of their directors' work.

• List of contributorsIntroduction, R. Barton Palmer and Murray Pomerance1. Hal Ashby, Gentle Giant Brenda Austin-Smith2. Remaking Gender in the Early Films of Peter BogdanovichDouglas McFarland3. In Extremis: John Boorman’s Cinema of DislocationIna Rae Hark4. John Cassavetes: In Your Face and Off the GridRebecca Bell-Metereau5. “Let Me Love You”: Ambiguous Masculinity in Michael Cimino’s MelodramasI-Lien Tsay6. De Palma’s Embattled Red Period: Hitchcock, Gender, Genre, and PostmodernismLinda Badley7. Escape from Escapism: Bob Fosse and the Hollywood RenaissanceDennis Bingham8. The Little Deaths of John FrankenheimerDaniel Varndell9. William Friedkin: Frayed ConnectionsDominic Lennard10. Sidney Lumet and the New HollywoodDavid Desser11. Terrence Malick’s Emergent Lyricism in Badlands and Days of HeavenRick Warner12. Elaine May: Subverting Machismo “Step by Tiny Step” Kyle Stevens13. Paul Mazursky: The New Hollywood’s Forgotten ManLester D. Friedman14. New Hollywood Crossover: Joan Micklin Silver & the Indie-Studio DivideMaya Montañez Smukler15. Mike Nichols and the Hollywood Renaissance: A Cinema of Cultural InvestigationNancy Roche16. “There will be no questions”: 1970s American Cinema as Parallax in Alan J. Pakula’s ‘Paranoia Trilogy’Terence McSweeney17. Genres of the Modern Mythic in the Films of Sam PeckinpahDaniel Sacco18. Bob Rafelson’s Ambivalent AuthorshipVincent Longo19. We’ve Never Danced: Alan Rudolph’s Welcome to L.A. and Remember My NameSteven Rybin20. Jerry Schatzberg’s Downfall Portraits: His Cinema of LonelinessR. Barton Palmer21. Inside John Schlesinger OutsideMurray Pomerance22. Fire and Ice: Paul SchraderConstantine Verevis23. Peter Yates: On Location in the New HollywoodJonathan Kirshner

Dominic Lennard is a Teaching Fellow in the Pre-degree Programs at the University of Tasmania. He is theauthor of Bad Seeds and Holy Terrors: The Child Villains of Horror Film (SUNY Press, 2014) and BruteForce: Animal Horror Movies (SUNY, 2019).R. Barton Palmer is Calhoun Lemon Professor of Literature Emeritus at Clemson University. He is the author, editor, or general editor of many books including Hollywood’s Dark Cinema: The American Film Noir (1994), After Hitchcock: Influence, Imitation, and Intertextuality (2006), and A Little Solitaire: John Frankenheimer and American Film (2011). He is the series editor for EUP’s traditions in World Cinema, Traditions in American Cinema and International Film Stars series, and he is co-editor of five recent EUP books: Michael Mann, George Cukor, Film Noir, International Noir and The Other Hollywood Renaissance. Murray Pomerance is an independent scholar living in Toronto and Adjunct Professor in the School of Media and Communication at RMIT University, Melbourne. He is the author of The Film Cheat: Screen Artifice and Viewing Pleasure (2020), Grammatical Dreams (2020), Virtuoso: Film Performance and the Actor’s Magic (2019), A Dream of Hitchcock (2019), and Cinema, If You Please: The Memory of Taste, the Taste of Memory (2018), among many other volumes, and editor or co-editor of more than two dozen books including The Other Hollywood Renaissance (2020). He edits the “Horizons of Cinema” series at SUNY Press and the “Techniques of the Moving Image” series at Rutgers. A Voyage with Hitchcock and Color It True: Impressions of Cinema are both forthcoming.

The Other Hollywood Renaissance is an extraordinary volume which testifies to the incredible richness of 1970s cinema. These 23 concise, eloquent and keenly insightful auteurist essays, expertly assembled, recover and re-examine the considerable achievements of a wide array of directors, ranging from the highly esteemed and well-known (Sidney Lumet, Mike Nichols and Terrence Malick) to the highly neglected (John Boorman, Elaine May and Alan Rudolph). Like the best critics, these authors compel us to watch the films anew with a fresh appreciation of their directors' work.

• List of contributorsIntroduction, R. Barton Palmer and Murray Pomerance1. Hal Ashby, Gentle Giant Brenda Austin-Smith2. Remaking Gender in the Early Films of Peter BogdanovichDouglas McFarland3. In Extremis: John Boorman’s Cinema of DislocationIna Rae Hark4. John Cassavetes: In Your Face and Off the GridRebecca Bell-Metereau5. “Let Me Love You”: Ambiguous Masculinity in Michael Cimino’s MelodramasI-Lien Tsay6. De Palma’s Embattled Red Period: Hitchcock, Gender, Genre, and PostmodernismLinda Badley7. Escape from Escapism: Bob Fosse and the Hollywood RenaissanceDennis Bingham8. The Little Deaths of John FrankenheimerDaniel Varndell9. William Friedkin: Frayed ConnectionsDominic Lennard10. Sidney Lumet and the New HollywoodDavid Desser11. Terrence Malick’s Emergent Lyricism in Badlands and Days of HeavenRick Warner12. Elaine May: Subverting Machismo “Step by Tiny Step” Kyle Stevens13. Paul Mazursky: The New Hollywood’s Forgotten ManLester D. Friedman14. New Hollywood Crossover: Joan Micklin Silver & the Indie-Studio DivideMaya Montañez Smukler15. Mike Nichols and the Hollywood Renaissance: A Cinema of Cultural InvestigationNancy Roche16. “There will be no questions”: 1970s American Cinema as Parallax in Alan J. Pakula’s ‘Paranoia Trilogy’Terence McSweeney17. Genres of the Modern Mythic in the Films of Sam PeckinpahDaniel Sacco18. Bob Rafelson’s Ambivalent AuthorshipVincent Longo19. We’ve Never Danced: Alan Rudolph’s Welcome to L.A. and Remember My NameSteven Rybin20. Jerry Schatzberg’s Downfall Portraits: His Cinema of LonelinessR. Barton Palmer21. Inside John Schlesinger OutsideMurray Pomerance22. Fire and Ice: Paul SchraderConstantine Verevis23. Peter Yates: On Location in the New HollywoodJonathan Kirshner