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While most members of the New Hollywood generation were, or started out as, independent filmmakers, a number of their projects were produced and released by major studios. However, by the late s, audience share was dwindling at an alarming rate. Influenced by foreign and art house directors such as Ingmar Bergman and Federico Fellini ,exploitation shockers i.

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Still, even with a broadening of the company, UA struggled. This effectively brought an end to the studio system of Hollywood's Golden Age. While most members of the New Hollywood generation were, or started out as, independent filmmakers, a number of their projects were produced and released by major studios. Unlike the former, John Waters released most of his films during his early life through his own production company, Dreamland Productions. Low-budget film The efforts of the SIMPP and the advent of inexpensive portable cameras during World War II effectively made it possible for any person in America with an interest in making films to write, produce, and direct one without the aid of any major film studio. Maya Deren was soon joined in New York by a crowd of like minded avant-garde filmmakers who were interested in creating films as works of art rather than entertainment. United Artists The studio system quickly became so powerful that some filmmakers once again sought independence. Thus UA did not have the overhead, the maintenance or the expensive production staff which ran up costs at other studios. It also received Silver Lion at Venice. Peter Bogdanovich bought back the rights from the studio to his film and paid for its distribution out of his own pocket, convinced that the picture was better than what the studio believed — he eventually went bankrupt because of this. In an attempt to capture this audience, the Studios hired a host of young filmmakers many of whom were mentored by Roger Corman and allowed them to make their films with relatively little studio control. Founded in by Jonas Mekas , Stan Brakhage , Shirley Clarke , Gregory Markopoulos , and others, the Cooperative provided an important outlet for many of cinema's creative luminaries in the s, including Jack Smith and Andy Warhol. The complaint accused Paramount of conspiracy to control first-run and subsequent-run theaters in Detroit. Though Coppola made considerable efforts to resist the influence of the studios, opting to finance his risky film Apocalypse Now himself rather than compromise with skeptical studio executives, he, and filmmakers like him, had saved the old studios from financial ruin by providing them with a new formula for success. Until his so-called "retirement" as a director in he continued to produce films even after this date he would produce up to seven movies a year, matching and often exceeding the five-per-year schedule that the executives at United Artists had once thought impossible. Low-budget film making promised exponentially greater returns in terms of percentages if the film could have a successful run in the theaters. As these tiny producers, theaters, and distributors continued to attempt to undercut one another, the B-grade shlock film soon fell to the level of the Z movie , a niche category of films with production values so low that they became a spectacle in their own right. It was the first antitrust suit brought by producers against exhibitors alleging monopoly and restraint of trade. Likewise, Zoetrope was another "independent studio" which worked within the system to make a space for independent directors who needed funding. SIMPP fought to end monopolistic practices by the five major Hollywood studios which controlled the production, distribution, and exhibition of films. The success of films like Little Fugitive, which had been made with low or sometimes non-existent budgets encouraged a huge boom in popularity for non-studio films. By the late s, RKO had ceased film production, and the remaining four of big five had recognized that they did not know how to reach the youth audience. Romero shocked audiences with Night of the Living Dead , a new kind of intense and unforgiving independent horror film. Mekas and Brakhage would go on to found the Anthology Film Archives in , which would likewise prove essential to the development and preservation of independent films, even to this day. On realizing how much money could potentially be made in films, major corporations started buying up the remaining Hollywood studios, saving them from the oblivion which befell RKO in the 50s. Very few of these filmmakers ever independently financed or independently released a film of their own, or ever worked on an independently financed production during the height of the generation's influence. It was believed that no one, no matter how popular, could produce and star in five quality feature films a year.

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