Film Culture in Transition Hollywood in Cannes

Samenvatting

Acknowledgments[-]Introduction[-]1 The Festival as a means to promote European national cultures, 1939-1968[-]1.1 With Hollywood against Hollywood[-]1.2 The Festival as a definitional context for national cinema[-]1.3 Hollywood\'s handicap on the diplomatic scene[-]1.4 The art vs. commerce conflict[-]1.4.1 The false allure of the free visa[-]1.5 US government interests in the Cold War[-]2 The star as a symbiosis between Hollywood and Cannes[-]2.1 Stars as means of market control[-]2.2 Cannes legitimates itself with Hollywood stars[-]2.3 The rise of Brigitte Bardot[-]2.4 Fear of scandal: Hollywood skimps on stars[-]2.4.1 Warner Brothers loses interest in Cannes: What ever happened to Bette Davis?[-]3 The auteur in commercial Hollywood[-]3.1 The emergence of the politique des auteurs in ... Cahiers du Cinéma[-]3.2 The politique at the Festival[-]3.2.1 The Nouvelle Vague becomes a brand at Cannes[-]3.2.2 Alfred Hitchcock: The -Father of the Nouvelle Vague as publicity genius[-]3.3 Criticism of the fora for critical reception[-]3.3.1 Hollywood\'s hegemonic claims[-]3.3.2 The American score with the jury[-]3.3.3 Film critics as spoilsports[-]3.3.4 Preemption by film programmers[-]4 A new harmony courtesy of New Hollywood, 1969-1981[-]4.1 The selection process is reformed[-]4.1.2 Denationalization through coproductions[-]4.2.2 The end of an era: 1968 interrupts the festival[-]4.4 Cannes as a success story for Hollywood in crisis[-]4.4.1 The film market[-]4.4.2 Columbia\'s success with EASY RIDER[-]4.4.3 With M*A*S*H, Fox becomes the first major to win the Palme d\'Or[-]4.4.4 Warner Brothers celebrates its fiftieth anniversary at Cannes[-]4.4.5 Artistic grounds for success[-]4.5 What can films do for the festival?[-]4.5.1 American critics discover Cannes[-]4.5.2 Hollywood\'s industry press[-]4.5.3 Cannes on American TV: Dreams for breakfast[-]4.6 Trans-Atlantic harmony ends[-]4.6.1 Coppola triumphs with APOCALYPSE NOW[-]4.6.2 Cimino fails with HEAVEN\'S GATE[-]5 Perils and possibilities for blockbusters, 1975-1997[-]5.1 Cannes as an avoidable risk[-]5.1.1 High-concept blockbusters drive out auteur films; marketing neutralizes critics[-]5.1.2 The multiplex and MTV revolution[-]5.1.3 -Pictures that people in Kansas City want to see from Paramount[-]5.1.4 The Palme d\'Or as an art film stigma for THE MISSION[-]5. 2 Hollywood\'s strategies to exploit media concentration[-]5.2.1 Out of competition, outside criticism[-]5.2.1.1 E.T. feels at home at Cannes[-]5.2.2 The politique des acteurs[-]5.2.2.1 Muscular action heroes[-]5.2.2.2 Arnold Schwarzenegger makes his movie career on the beach[-]5.2.2.3 Schwarzenegger\'s flop with LAST ACTION HERO[-]5.2.2.4 Consequences of the strategy of -with Cannes against Cannes [-]5.3 The Festival\'s politique des acteurs[-]5.3.1 The Montée des Marches[-]5.3.2 Sharon Stone becomes a star overnight[-]5.4 The independents conquer Cannes[-]6 Cultural exception versus monoculture, 1994-2008[-]6.1 The new ice age, 1994-2000[-]6.1.1 Hollywood makes Hollyworld[-]6.1.2 The GATT negotiations[-]6.1.3 Cannes as a means to promote cultural diversity[-]6.1.4. No US blockbusters in competition[-]6.2 The festival as launch pad, 2001-2008[-]6.2.1 Global launches[-]6.2.2 Cannes as gateway to the world market[-]6.2.3 Veni, Vidi, -Vinci : THE DA VINCI CODE cracks the critics[-]Conclusion[-]Bibliography[-]Appendix[-]Index