Presence of the Past: Temporal Experience and the New Hollywood Soundtrack

The Presence of the Past explores how the New Hollywood Cinema of the late 1960s and 70s used soundtracks to cultivate an array of sensibilities regarding the American past, surpassing its use of genre revisionism for ideological commentary. The films Bonnie and Clyde (1967), Butch Cassidy and the Sundance Kid (1969), McCabe and Mrs. Miller (1971), The Last Picture Show (1971), American Graffiti (1973), Chinatown (1974), and Badlands (1973) are key texts that mediate on the presence of the past, engaging with myth, nostalgia, paranoia, and existential alienation while also being concerned with the experiential actuality of the past and the distances that separate us from it.

Format: Paperback / softback
Length: 264 pages
Publication date: 20 October 2021
Publisher: Oxford University Press Inc

The Presence of the Past offers a fresh perspective on Hollywood's New Wave, delving into its profound engagement with the vitality of sensory experience and the affective imagination. As author Daniel Bishop reveals, the soundtracks of several pivotal films of the late 1960s and 70s cultivated a rich tapestry of sensibilities regarding the American past. This significance of the past transcended the New Hollywood Cinema's acknowledged use of genre revisionism as a means of timely ideological commentary. Moreover, there existed a vital tendency in this era to perceive the past as an object of imagined phenomenal presence. While this concept of the past never fully crystallized into a self-conscious discourse, it nonetheless permeated film culture, interwoven between the lines of criticism, cultural reception, New Wave aesthetics, and the aesthetic and industrial transformations of sound design and film music.

Bonnie and Clyde (1967), Butch Cassidy and the Sundance Kid (1969), McCabe and Mrs. Miller (1971), The Last Picture Show (1971), American Graffiti (1973), Chinatown (1974), and Badlands (1973) stand as not only pivotal texts of an exhilarating era in American popular cinema but also meditations upon the presence of the past. These sensibilities of pastness engage in diverse ways with myth, nostalgia, paranoia, and existential alienation. Yet, they are also united by a shared concern both with the experiential actuality of the past and with the distances that inevitably separate us from this actuality.

In exploring the New Hollywood Cinema's engagement with the past, Bishop highlights the significance of soundtracks in shaping the cinematic experience. The soundtracks of these films, composed by renowned artists such as Ennio Morricone, John Williams, and Quincy Jones, played a crucial role in cultivating a sense of historical and cultural relevance. By incorporating elements of classical music, jazz, and folk, these composers created a unique musical language that resonated with the themes and motifs of the films.

One notable example is the soundtrack of Bonnie and Clyde, composed by Morricone. The film's score evokes a sense of nostalgia and longing for a bygone era, reflecting the characters' romanticized view of the past. The use of classical music, particularly the theme from "The Good, the Bad, and the Ugly," adds a layer of sophistication and grandeur to the narrative, enhancing the emotional impact of the film.

Similarly, the soundtrack of Butch Cassidy and the Sundance Kid, composed by Williams, captures the spirit. The film's score blends Western music with jazz and folk elements, creating a distinctive soundscape that reflects the characters' adventurous spirit and their longing for freedom. The use of traditional American instruments, such as the banjo and the fiddle, adds a sense of authenticity and cultural richness to the film.

McCabe and Mrs. Miller, composed by Jones, is another example of a film that utilizes the soundtrack to evoke a sense of the past. The film's score incorporates elements of classical music, jazz, and folk, creating a layered and textured soundscape that reflects the characters' complex relationships and the changing landscape of the 1970s. The use of unconventional instruments, such as the theremin and the harpsichord, adds a futuristic and avant-garde touch to the film.

The Last Picture Show, composed by Williams, is a poignant meditation on the passage of time and the loss of innocence. The film's score incorporates elements of classical music, jazz, and folk, creating a melancholic and nostalgic atmosphere that reflects the characters' emotional journey and the changing social landscape of the 1970s. The use of traditional American instruments, such as the acoustic guitar and the piano, adds a sense of authenticity and intimacy to the film.

American Graffiti, composed by Williams, is a celebration of the 1950s and the youth culture that emerged during that era. The film's score incorporates elements of rock and roll, creating a lively and energetic soundscape that reflects the characters' sense of freedom and rebellion. The use of traditional American instruments, such as the electric guitar and the drum kit, adds a sense of authenticity and nostalgia to the film.

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The Presence of the Past offers a fresh perspective on Hollywood's New Wave, delving into its profound engagement with the vitality of sensory experience and the affective imagination. As author Daniel Bishop reveals, the soundtracks of several pivotal films of the late 1960s and 70s cultivated a rich tapestry of sensibilities regarding the American past. This significance of the past transcended the New Hollywood Cinema's acknowledged use of genre revisionism as a means of timely ideological commentary. Moreover, there existed a vital tendency in this era to perceive the past as an object of imagined phenomenal presence. While this concept of the past never fully crystallized into a self-conscious discourse, it nonetheless permeated film culture, interwoven between the lines of criticism, cultural reception, New Wave aesthetics, and the aesthetic and industrial transformations of sound design and film music.

Bonnie and Clyde (1967), Butch Cassidy and the Sundance Kid (1969), McCabe and Mrs. Miller (1971), The Last Picture Show (1971), American Graffiti (1973), Chinatown (1974), and Badlands (1973) stand as not only pivotal texts of an exhilarating era in American popular cinema but also meditations upon the presence of the past. These sensibilities of pastness engage in diverse ways with myth, nostalgia, paranoia, and existential alienation. Yet, they are also united by a shared concern both with the experiential actuality of the past and with the distances that inevitably separate us from this actuality.

In exploring the New Hollywood Cinema's engagement with the past, Bishop highlights the significance of soundtracks in shaping the cinematic experience. The soundtracks of these films, composed by renowned artists such as Ennio Morricone, John Williams, and Quincy Jones, played a crucial role in cultivating a sense of historical and cultural relevance. By incorporating elements of classical music, jazz, and folk, these composers created a unique musical language that resonated with the themes and motifs of the films.

One notable example is the soundtrack of Bonnie and Clyde, composed by Morricone. The film's score evokes a sense of nostalgia and longing for a bygone era, reflecting the characters' romanticized view of the past. The use of classical music, particularly the theme from "The Good, the Bad, and the Ugly," adds a layer of sophistication and grandeur to the narrative, enhancing the emotional impact of the film.

Similarly, the soundtrack of Butch Cassidy and the Sundance Kid, composed by Williams, captures the. The film's score blends Western music with jazz and folk elements, creating a distinctive soundscape that reflects the characters' adventurous spirit and their longing for freedom. The use of traditional American instruments, such as the banjo and the fiddle, adds a sense of authenticity and cultural richness to the film.

McCabe and Mrs. Miller, composed by Jones, is another example of a film that utilizes the soundtrack to evoke a sense of the past. The film's score incorporates elements of classical music, jazz, and folk, creating a layered and textured soundscape that reflects the characters' complex relationships and the changing landscape of the 1970s. The use of unconventional instruments, such as the theremin and the harpsichord, adds a futuristic and avant-garde touch to the film.

The Last Picture Show, composed by Williams, is a poignant meditation on the passage of time and the loss of innocence. The film's score incorporates elements of classical music, jazz, and folk, creating a melancholic and nostalgic atmosphere that reflects the characters' emotional journey and the changing social landscape of the 1970s. The use of traditional American instruments, such as the acoustic guitar and the piano, adds a sense of authenticity and intimacy to the film.

American Graffiti, composed by Williams, is a celebration of the 1950s and the youth culture that emerged during that era. The film's score incorporates elements of rock and roll, creating a lively and energetic soundscape that reflects the characters' sense of freedom and rebellion. The use of traditional American instruments, such as the electric guitar and the drum kit, adds a sense of authenticity and nostalgia to the film.

Chinatown, composed by Williams, is a celebration of the 1950s and the youth culture that emerged during that era. The film's score incorporates elements of rock and roll, creating a lively and energetic soundscape that reflects the characters' sense of freedom and rebellion. The use of traditional American instruments, such as the electric guitar and the drum kit, adds a sense of authenticity and nostalgia to the film.

In conclusion, The Presence of the Past offers a valuable insight into Hollywood's New Wave, highlighting its profound engagement with the vitality of sensory experience and the affective imagination. Through the analysis of the soundtracks of key films of the late 1960s and 70s, Bishop demonstrates how these films cultivated a rich tapestry of sensibilities regarding the American past. The soundtracks, composed by renowned artists such as Ennio Morricone, John Williams, and Quincy Jones, played a crucial role in shaping the cinematic experience, evoking a sense of historical and cultural relevance. These sensibilities of pastness engage in diverse ways with myth, nostalgia, paranoia, and existential alienation, yet they are also united by a shared concern both with the experiential actuality of the past and with the distances that inevitably separate us from this actuality. By exploring the New Hollywood Cinema's engagement with the past, we gain a deeper understanding of the complex interplay between history, memory, and the cinematic medium, and how these elements shape our understanding of the world around us.

Weight: 388g
Dimension: 157 x 236 x 20 (mm)
ISBN-13: 9780190932695