The article first appeared in a December issue of the Saturday Evening Post, much to the annoyance of those touting for his services. “Slaves of Hollywood” mocked the transformation of writers into scenarists and artists into artisans as talkies were taking off and business interests began to dominate. Wodehouse was particularly dismissive of the industry’s methods and he wrote his first satirical piece about Hollywood in 1929, the year he and Coward both arrived. Wodehouse to Aldous Huxley, from David Niven to Laurence Olivier, the English penchant for being under-whelmed by the extravagance of it all has been well-documented. Successful films of the early New Hollywood era include Bonnie and Clyde, The Graduate, Rosemary's Baby, Night of the Living Dead, The Wild Bunch, and Easy Rider while films that failed at the box office such as New York, New York, Sorcerer, Heaven's Gate, They All Laughed and One from the Heart marked the end of the era.3 Coward’s first visit persuaded him that California was not the place to settle and he for one only ever made fleeting visits to the movie colony, but the description he offered, and the delicious dismissal of Hollywood’s “fabricated” community, became common currency if one examines other British accounts of life on the west coast at this time. After the demise of the studio system and the rise of television, the commercial success of films was diminished. The films made in this movement are stylistically characterized in that their narrative often deviated from classical norms. The span of the period is also a subject of debate, as well as its integrity, as some authors, such as Thomas Schatz, argue that the New Hollywood consists of several different movements. The definition of "New Hollywood" varies, depending on the author, with some defining it as a movement and others as a period. Quick facts: Years active, Country, Influences, Influenced.
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