∷宋云峰

20世紀(jì)60年代和70年代，美國社會進(jìn)入了一個(gè)反叛與混亂的時(shí)期。黑人民權(quán)運(yùn)動(dòng)、婦女解放浪潮以及青年文化崛起使傳統(tǒng)的循規(guī)蹈矩的中產(chǎn)階級價(jià)值觀受到挑戰(zhàn)、反叛和批判。反映在電影上，傳統(tǒng)的電影類型不再受到青睞和賣座（例如20世紀(jì)50年代的歌舞片和史詩片），代之以非經(jīng)典敘事和反映現(xiàn)實(shí)的各類影片(例如《雌雄大盜》（Bonnie and Clyde）、《畢業(yè)生》（The Graduate）和《逍遙騎士》（Easy Rider）；以《海斯法案》（Hays Code）為主的電影內(nèi)容審查受到?jīng)_擊并成為一紙空文，并在1968年代之以電影分級制度；各大電影公司也在內(nèi)容和體裁上給予新崛起的電影導(dǎo)演更多的創(chuàng)作自由?？傊?，美國電影進(jìn)入了“新好萊塢”時(shí)期（1964-1982），而這個(gè)時(shí)代產(chǎn)生的新好萊塢電影既反映了當(dāng)時(shí)的社會思潮又推動(dòng)了社會變革，成為變革時(shí)代的文化標(biāo)志。

In 1960s, a new generation of young filmmakers came to prominence in America, in fluencing the types of films produced, their production and marketing,and the way major studios approached filmmaking.The films they made were part of the studio system,and these individuals were not “independent filmmakers”, but they introduced subject matter and styles that set them apart from the studio traditions that an earlier generation had established from 1920s to 1950s. New Hollywood has also been de fined as a broader filmmaking movement in fluenced by this period, which has been called the “Hollywood renaissance”.

新好萊塢形成的歷史背景

好萊塢面對20世紀(jì)50年代電視進(jìn)入家庭所造成的威脅和競爭，主要采取了技術(shù)上的對策，例如寬銀幕、立體聲、彩色片、3-D立體電影（50年代發(fā)明的），所拍攝的影片以主打聲光色的歌舞片（例如《一個(gè)美國人在紐約》、《窈窕淑女》和《音樂之聲》）和宏大敘事與大場面的史詩片（例如《賓虛傳》和《埃及艷后》）為主。但是除了少數(shù)影片收回了投資，大部分反響平平或遭到失敗。好萊塢不知道觀眾群已發(fā)生了代際變化，嬰兒潮一代（戰(zhàn)后20世紀(jì)40年代中期以后出生的一代，延續(xù)到20世紀(jì)60年代中期出生的一代）在20世紀(jì)60年代已長大成人，成為觀眾的主流，他們大多受到良好的教育或者正在讀大學(xué)。他們厭倦了好萊塢脫離現(xiàn)實(shí)的夢幻制作，渴望看到反映自身生活和理想的電影。所以，好萊塢的一些大電影公司開始允許新一代電影導(dǎo)演在內(nèi)容和風(fēng)格上享有一定的創(chuàng)作自由，以應(yīng)對觀眾群的代際變化。而1968年電影分級制度取代《海斯法案》更是在內(nèi)容上給與電影創(chuàng)作以極大的自由。

By the time the baby boomer generation was coming 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 marked change during the period was from a middle aged high school educated audience in the mid 60s, to a younger,college-educated, more af fluent one; by the mid 70s, 76%of all movie-goers were under 30, and 64% had gone to college. 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 through allowing greater control by younger directors and producers. This, together with the breakdown of the Production Code in 1966 and the new ratings system in 1968 (re flecting growing market segmentation) set the scene for New Hollywood.

新好萊塢電影的特點(diǎn)

新好萊塢電影的特點(diǎn)主要體現(xiàn)在一個(gè)“新”字上：新一代的電影導(dǎo)演突破了舊體制的藩籬，使用新的電影技術(shù)（主要是現(xiàn)場和外景的實(shí)時(shí)拍攝）和新的敘事方式（現(xiàn)實(shí)主義），拍攝反應(yīng)新時(shí)代內(nèi)容的新電影。

This new generation of Hollywood filmmaker was film school-educated, counterculture-bred（反傳統(tǒng)文化產(chǎn)生的）, and, most importantly from the point of view of the studios, young, and therefore able to reach the youth audience they were losing. This group of young filmmakers changed the business from the producer-driven Hollywood system of the past, and injected movies with a jolt (引起震驚的事情）of freshness, energy, and a passion for the artistic value of film itself.

According to film critic Todd Berliner, seventies films deviate from classical narrative norms more than Hollywood films from other eras. Their narrative and stylistic(文體的）devices threaten to derail (使脫軌）an otherwise straightforward narration. Technically, the greatest change the New Hollywood filmmakers brought to the art form was an emphasis on realism. This was possible when the Motion Picture Association of America film rating system was introduced and location shooting was becoming more viable. Since location shooting was cheaper(no sets need to be built) New Hollywood filmmakers rapidly developed the taste for location shooting, which had the effect of heightening the realism and immersion of their films, especially when compared to the arti ficiality of previous musicals and spectacles.

反映青年人理想和生活的影片因其強(qiáng)烈的“反英雄”主人公、“反傳統(tǒng)文化”內(nèi)容和“非常規(guī)風(fēng)格”成為風(fēng)靡一時(shí)的經(jīng)典，深刻地影響了青年一代。其中最突出的新經(jīng)典包括《雌雄大盜》（1967）、《畢業(yè)生》（1967）、《鐵窗喋血》（1967）、《午夜牛郎》（1968）和《逍遙騎士》（1969）。

Jack Nicholson and Peter Fonda in Easy Rider (dir. Dennis Hopper, 1969）

Aside from realism, New Hollywood films often featured anti-establishment political themes, use of rock music, and sexual freedom deemed “counter-cultural”by the studios. The popularity of these films with young people shows the importance of these thematic elements and artistic values with a more cinematically knowledgeable audience. The youth movement of the 1960s turned antiheroes likeBonnie and ClydeandCool Hand Luke(《鐵窗喋血》）into pop culture heroes, andLifemagazine called the characters inEasy Rider“part of the fundamental myth central to the counterculture of the late 1960s.” Perhaps the most signi ficant film for the New Hollywood generation wasBonnie and Clydein 1967. Produced by and starring Warren Beatty and directed by Arthur Penn, its mix of graphic violence, sex and humor as well as its theme of glamorous disaffected youth was a hit with audiences, and received Academy Awards for Best Supporting Actress and Best Cinematography.

新好萊塢時(shí)代的終結(jié)

Jaws (dir. Steven Spielberg, 1975) —the first high-concept blockbuster movie setting new trend for Hollywood

新好萊塢電影在20世紀(jì)60年代的成功使各大電影公司將電影拍攝的主導(dǎo)權(quán)交給了富有創(chuàng)新精神的年輕一代導(dǎo)演，也確實(shí)結(jié)出了豐碩的成果，例如20世紀(jì)70年代的《紙?jiān)铝痢?Paper Moon）、《唐人街》(Chinatown）和《出租車司機(jī)》(Taxi Driver）。這些成功反過來又促使新一代導(dǎo)演對電影公司和觀眾提出新的期望和要求，使電影制作轉(zhuǎn)向了更大投入和更大制作的軌道（如《教父》系列），逐漸偏離了現(xiàn)實(shí)主義的初衷。斯皮爾伯格的《大白鯊》(Jaws）（1975）和盧卡斯的《星球大戰(zhàn)》(Star Wars）（1977）標(biāo)志著“高概念”（High Concept）商業(yè)大片(Blockbuster)時(shí)代的開始和新好萊塢運(yùn)動(dòng)的日漸式微。然而，新好萊塢涌現(xiàn)出來的電影人才以及他們在內(nèi)容和形式上的探索創(chuàng)新精神深刻地影響著20世紀(jì)80年代以來的美國電影，使美國電影呈現(xiàn)出多元化。

These initial successes paved the way for the studio to relinquish (教父）almost complete control to these innovative young filmmakers. In the mid-1970s,idiosyncratic(怪異的）, startling original films such asPaper Moon,ChinatownandTaxi Driveramong others,enjoyed enormous critical and commercial success.These successes by the members of New Hollywood led each of them in turn to make more and more extravagant(過度的）emands, both on the studio and eventually on the audience. The failures in costly new films, coupled with the new commercial paradigm ofJawsandStar Warsgave studios a clear and renewed sense of where the market was going: high-concept, mass-audience,wide-release films. Therefore, the costly and riskystrategy of surrendering control to the director ended, and with that, the New Hollywood era.

Dustin Hoffman in The Graduate Original Soundtrack album cover ( film dir. Mike Nichols, 1967)

In retrospect,Jaws(1975) andStar Wars(1977) marked the beginning of the end for the New Hollywood era. With their unprecedented box-of fice successes, Steven Spielberg’s and George Lucas’s films jumpstarted (激活）Hollywood’s blockbuster(大片）mentality, giving studios a new paradigm(范例）of how to make money in the changing commercial landscape. The focus on high-concept premises(前提）, with greater concentration on tiein merchandise (such as toys), spin-offs (副產(chǎn)品）into other media (such as soundtracks), and the use of sequels (which had been made more respectable by Coppola’sThe Godfather Part II), all showed the studios how to make money in the new environment.

Robert de Niro in Raging Bull (dir. Martin Scorsese, 1980)

新好萊塢時(shí)期產(chǎn)生的部分電影經(jīng)典

Bonnie and Clyde/《雌雄大盜》(dir. Arthur Penn, 1967)

The Graduate/《畢業(yè)生》 (dir. Mike Nichols, 1967)

In the Heat of the Night/《炎熱的夜晚》 (dir. Norman Jewison, 1967)

2001: A Space Odyssey/2001：《太空遨游》 (dir. Stanley Kubrick, 1968)

Planet of the Apes/《人猿星球》 (dir. Franklin James Schaffner, 1968)

Rosemary’s Baby/《魔鬼圣嬰》 (dir. Roman Polanski,1968)

Easy Rider/《逍遙騎士》 (dir. Dennis Hopper, 1969)

Midnight Cowboy/《午夜牛郎》 (dir. John Schlesinger,1969)

The Wild Bunch/《野幫伙》 (dir. Sam Peckinpah, 1969)

Butch Cassidy and the Sundance Kid/《虎豹小霸王》 (dir.George Roy Hill, 1969）

The Last Picture Show/《最后一場電影》 (dir. Peter Bogdanovich, 1971)

The French Connection/《法國販毒網(wǎng)》 (dir. William Friedkin,1971)

A Clockwork Orange/《發(fā)條橙》 (dir. Stanley Kubrick, 1971)

Fritz the Cat/《怪貓菲力茲》 (dir. Ralph Bakshi, 1972)

The Godfather/《教父》 (dir. Francis Ford Coppola, 1972）

American Graf fiti/《美國風(fēng)情畫》 (dir. George Lucas, 1973)

Mean Streets/《窮街陋巷》 (dir. Martin Scorsese, 1973)

Paper Moon/《紙?jiān)铝痢?(dir. Peter Bogdanovich, 1973)

Chinatown/《唐人街》 (dir. Roman Polanski, 1974)

The Conversation/《竊聽大陰謀》 (dir. Francis Ford Coppola,1974)

A Woman under the In fluence/《醉酒的女人》 (dir. John Cassavetes, 1974)

One Flew Over the Cuckoo’s Nest/《飛越瘋?cè)嗽骸?(dir. Milos Forman, 1975）

Jaws/《大白鯊》 (dir. Steven Spielberg, 1975)

Nashville/《納什維爾》 (dir. Robert Altman, 1975)

All the President’s Men/《總統(tǒng)班底》 (dir. Alan J. Pakula, 1979）

Network/《電視網(wǎng)》 (dir. Sydney Lumet, 1976)

Rocky/《洛奇》 (dir. John G. Avildsen, 1976)

Taxi Driver/《出租車司機(jī)》 (dir. Martin Scorsese, 1976)

Annie Hall/《安妮·霍爾》 (dir. Woody Allen, 1977)

Saturday Night Fever/《周末夜狂舞 (dir. John Badham, 1977)

Star Wars Episode IV: A New Hope/《星球大戰(zhàn)》 (dir. George Lucas, 1977)

The Deer Hunter/《獵鹿人》 (dir. Michael Cimino, 1978)

Halloween/《萬圣節(jié)》 (dir. John Carpenter, 1978）

Apocalypse Now/《現(xiàn)代啟示錄》 (dir. Francis Ford Coppola,1979)

Kramer vs. Kramer/《克萊默夫婦》 (dir. Robert Benton, 1979)

American Gigolo/《美國舞男》 (dir. Paul Schrader, 1980)

Raging Bull/《憤怒的公?！?(dir. Martin Scorsese, 1980)

Reds/《赤色分子》 (dir. Warren Beatty, 1981)