1.
Demme & LaGravanese. A Decade Under the Influence. (2003).
2.
Truffaut, F. Shoot the Pianist. (1960).
3.
Nystrom, D. The New Hollywood. in The Wiley-Blackwell history of American film (Wiley-Blackwell, 2012). doi:10.1002/9780470671153.wbhaf062.
4.
Arthur Penn. Bonnie and Clyde. (2008).
5.
Bonnie and Clyde (1967). (2013).
6.
Mike Nichols. The Graduate. (2008).
7.
The Graduate (1967). (2014).
8.
Beuka, R. Retrospectives "Just One… ‘Plastics’”: Suburban Malaise, Masculinity, and Oedipal Drive In. Journal of Popular Film and Television 28, 12–21 (2000).
9.
Kael, P. Bonnie and Clyde. in Kiss Kiss Bang Bang (Calder & Boyars, 1970).
10.
Buckland, W. The Film Editors Who Invented the Hollywood Renaissance: Ralph Rosenblum, Sam O’Steen and Dede Allen’s Bonnie and Clyde (1967)”. in The Hollywood Renaissance: Revisiting American Cinema’s Most Celebrated Era (eds. Tzioumakis, Y. & Kramer, P.) 19–34 (Bloomsbury Academic, 2018).
11.
Buckland, W. The Film Editors Who Invented the Hollywood Renaissance: Ralph Rosenblum, Sam O’Steen and Dede Allen’s Bonnie and Clyde (1967)”. in The Hollywood Renaissance: Revisiting American Cinema’s Most Celebrated Era (eds. Tzioumakis, Y. & Kramer, P.) 19–34 (Bloomsbury Academic, 2018).
12.
Dennis Hopper. Easy Rider. (1969).
13.
Easy Rider (1969). (2018).
14.
Midnight Cowboy (1969). (2007).
15.
Ortega Murphy, B. & Harder, J. S. 1960s Counterculture and the Legacy of American Myth: A Study of Three Films | Canadian Review of American Studies. Canadian Review of American Studies vol. 23 (1993).
16.
Ray, R. B. The Left and Right Cycles. in A Certain Tendency of the Hollywood Cinema, 1930-1980 296–325 (Princeton University Press, 1985).
17.
The Dirty Dozen (1967). (2011).
18.
The Deer Hunter (1978). (2016).
19.
Symmons, T. Having Our Cake and Eating It: The Dirty Dozen (1967), the World War II Combat Film, and the Vietnam War. in The New Hollywood Historical Film: 1967-78 87–124 (Palgrave Macmillan, 2016).
20.
Sylvia Shin Huey Chong. Restaging the War: ‘The Deer Hunter’ and the Primal Scene of Violence. Cinema Journal 44, (2005).
21.
The Wild Bunch (1969). (2015).
22.
Robert Altman. McCabe and Mrs. Miller. (2003).
23.
Dixon, W. Re-Visioning the Western: Code, Myth, and Genre in Peckinpah’s The Wild Bunch. in Sam Peckinpah’s The Wild Bunch (Cambridge University Press, 1999).
24.
Wheeler, D. W. Re-Visioning the Western: Code, Myth, and Genre in Peckinpah’s ‘The Wild Bunch’. in Sam Peckinpah’s ‘The Wild Bunch’ 155–174.
25.
Knight, D. The Northwestern: ‘McCabe and Mrs. Miller’. in The philosophy of the Western (University Press of Kentucky, 2010).
26.
Knight, D. The Northwestern: ‘McCabe and Mrs. Miller’. in The Philosophy of the Western 241–257 (University Press of Kentucky, 2010).
27.
Sweet Sweetback’s Baadasssss Song. (1971).
28.
Silver, J. M. Hester Street | Kanopy. (1975).
29.
Benjamin Wiggins. ‘You Talkin’ Revolution, Sweetback’: On Sweet Sweetback’s Baadasssss Song and Revolutionary Filmmaking. Black Camera 4, 28–52 (2012).
30.
Diner, H. The Right Film at the Right Time: Hester Street as a Reflection of Its Era. in The modern Jewish experience in world cinema 98–105 (Brandeis University Press, 2011).
31.
Roman Polanski. Chinatown. (2007).
32.
Polanski, R. Chinatown | Box of Broadcasts. (1974).
33.
Francis Ford Coppola. The Conversation.
34.
The Conversation (1974). (2012).
35.
Patzig, J. The Crisis of Americanism in Hollywood’s Paranoia Films of the 1970s: The Conversation, Chinatown and Three Days of the Condor. PhiN: Philologie im Netz vol. 40 32–66 http://web.fu-berlin.de/phin/phin40/p40t2.htm (2007).
36.
Alan J Pakula. Klute. (2002).
37.
Klute (1971). (2015).
38.
Martin Scorsese. Taxi Driver. (2004).
39.
Taxi Driver (1976). (2015).
40.
Corkin, S. Vigilance!: Death Wish (1974), Taxidriver (1976), and Marathon Man (1976). in Starring New York: Filming the Grime and the Glamour of the Long 1970s 134–161 (Oxford University Press, 2011).
41.
Webb, L. Cinema and Crisis in the Entrepreneurial City. in The Cinema of Urban Crisis: Seventies Film and the Reinvention of the City vol. 4 (Amsterdam University Press, 2014).
42.
Webb, L. Cinema and Crisis in the Entrepreneurial City. in The Cinema of Urban Crisis : Seventies Film and the Reinvention of the City (Amsterdam University Press, 2014).
43.
Arthur Penn. Night Moves. (2005).
44.
John G Avildsen. Rocky. (2007).
45.
Rocky (1976). (2013).
46.
Elsaesser, T. The Pathos of Failure: Notes on the Unmotivated Hero. in The Last Great American Picture Show: New Hollywood Cinema in the 1970s 279–292 (Amsterdam University Press, 2004).
47.
Elsaesser, T. The Pathos of Failure: Notes on the Unmotivated Hero. in The Last Great American Picture Show: New Hollywood Cinema in the 1970s 279–292 (Amsterdam University Press, 2004).
48.
Motley, C. Fighting for Manhood: Rocky and Turn-of-the-Century Antimodernism. Film & History: An Interdisciplinary Journal of Film and Television Studies 35, 60–66 (2005).
49.
William Friedkin. The Exorcist. (1999).
50.
The Exorcist (1973). (2012).
51.
Steven Spielberg. Jaws. (2005).
52.
Jaws (1975). (2018).
53.
Kellner, D. & Ryan, M. Crisis Films. in Camera Politica: The Politics and Ideology of Contemporary Hollywood Film 49–65 (Indiana University Press, 1990).
54.
George Lucas. American Graffiti. (2003).
55.
Lucas, G. American Graffiti | Box of Broadcasts. (1973).
56.
Warren Beatty. Reds. (2007).
57.
Reds (1981). (2010).
58.
Langford, B. American Graffiti. in America first: naming the nation in US film 157–176 (Routledge, 2007).
59.
Langford, B. American Graffiti. in America First: Naming the Nation in Us Film 157–176 (Routledge, 2007).
60.
Corrigan, T. Auteurs and the New Hollywood. in The New American Cinema 38–63 (Duke University Press, 1998).