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Walker also notes that by 1971 the brief renaissance was already over, with producers and studios retrenching. She pointed to the resurgence of genrefilmmaking, with new directors having to “go the porn-horror-violence route” if they were to secure the (low budget) financing which the Easy Rider formula had pioneered. The directors of the first New Hollywood in fact faced some of the same problems as their European counterparts, even if on a different scale: there too, getting finance for a second film was contingent on boxoffice (or festival success) of the first.

55. Jean-Luc Godard and Pauline Kael, “The Economics of Film Criticism: A Debate,” Camera Obscura 8-9-10 (1982): 174-175. , Conversations with Pauline Kael (Jackson: Univ. of Mississippi, 1995): 55-74. 56. Kael, “Why Are Movies So Bad? or, The Numbers”: 16. 57. Andre Schiffrin, The Business of Books: How the Conglomerates took Over Publishing and Changed the Way We Read (London: Verso, 2001); Jason Epstein, Book Business: Publishing: Past, Present, and Future (new York: W. W. Norton & Co, 2001).

1940, George Lucas, b. 1944, Paul Scharder b. 1946), whose own role in this auteur cinema is both crucial and ambiguous. Equally typical for the 1970s is the role of godfathers like Orson Welles (for Bogdanovich, Jaglom, arguably Malick and more indirectly, Coppola), Hitchcock (for de Palma and Spielberg), Michael Powell (for Scorsese) and Roger Corman (for just about everybody else). Many temporalities are thus present simultaneously in the apparently single chronology of 1967 to 1975, tracing the different timelines, and also showing where they break off or suddenly resurface.

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