Eventually, even RKO was revived. The coming of sound ended the careers of Pickford and Fairbanks. Lynch subsequently returned to independent filmmaking, and did not work with another major studio for over a decade. 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. Though Midnight Cowboy was financed by United Artists, the company was certainly a studio. Horror and science fiction films experienced a period of tremendous growth during this time. These successes by the members of New Hollywood led each of them in turn to make more and more extravagant demands, both on the studio and eventually on the audience. The Story of Christy Brown , and Clerks , putting Miramax and New Line Cinema in the sights of big companies looking to cash in on the success of independent studios. Rallying around such institutions as the Film-Makers' Cooperative and Anthology Film Archives, this new generation of independents devoted themselves to the defiance of the now-establishment New Hollywood, proposing that "all film schools be blown up and all boring films never be made again.
With the production code abandoned and violent and disturbing films like Romero's gaining popularity, Hollywood opted to placate the uneasy filmgoing public with the MPAA ratings system, which would place restrictions on ticket sales to young people. The s and early s saw a Hollywood dominated by musicals, historical epics, and other films which benefited from these advances. Mawra , Michael Findlay , and Henri Pachard and avant-garde cinema, Kenneth Anger , Maya Deren a number of young film makers began to experiment with transgression not as a box-office draw, but as an artistic act. The coming of sound ended the careers of Pickford and Fairbanks. As the s progressed, the new low-budget paradigm of filmmaking gained increased recognition internationally, with films such as Satyajit Ray 's critically acclaimed     Apu Trilogy — 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. Selznick were made "producing partners" i. Through Zoetrope, Coppola formed a distribution agreement with studio giant Warner Bros. Indeed, it was during this period that the very definition of an independent film became blurred. It became the first and only X rated film to win the Academy Award for best picture. As such, it was the first and last film of its kind to enjoy a completely unrestricted screening, in which young children were able to witness Romero's new brand of highly realistic gore. 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. As the years passed and the dynamics of the business changed, these "producing partners" drifted away. While still in 8th grade, he's receiving offers to join elite college prep schools where many basketball stars got their start before turning pro. It tackles real life situations. As the pressures increase, they only magnify when Terron's father joins the team as an assistant coach. Why or why not? Filmmakers such as Ken Jacobs with little or no formal training began to experiment with new ways of making and shooting films. The focus on high-concept premises, with greater concentration on tie-in merchandise such as toys , spin-offs into other media such as soundtracks , and the use of sequels which had been made more respectable by Coppola's The Godfather Part II , all showed the studios how to make money in the new environment. While there are moments in the story that feel a little too forced and unnatural, the acting, action, and humor keep the audience fully engaged. Midnight Cowboy also held the distinction of featuring cameo roles by many of the top Warhol superstars , who had already become symbols of the militantly anti-Hollywood climate of NYC's independent film community. Likewise, Zoetrope was another "independent studio" which worked within the system to make a space for independent directors who needed funding. The corporate mentality these companies brought to the filmmaking business would slowly squeeze out the more idiosyncratic of these young filmmakers, while ensconcing the more malleable and commercially successful of them. In fact, the only two movies of the movement which can be described as uncompromisingly independent are Easy Rider at the beginning, and Peter Bogdanovich 's They All Laughed , at the end. The cult audiences these pictures attracted soon made them ideal candidates for midnight movie screenings revolving around audience participation and cosplay.
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