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Teens and the counterculture

This lesson explores how and why films of the late 1960s and early 1970s engage with youth countercultures. It examines the cultural possibilities and limitations of "revolutionary" pictures produced between 1969 and 1971 and how Easy Rider exemplifies the blending of high-brow and low-brow film styles. The lesson also discusses the rejuvenation of Hollywood, the emergence of the film school generation, and the targeting of youth through the use of different film styles.

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Teens and the counterculture

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  1. Teens and the counterculture FMS 394: Lesson 6

  2. GUIDING QUESTIONS • How and why does film engage with youth countercultures in the late 1960s and early 1970s? • What are the cultural possibilities and limitations of the “revolutionary” pictures that appear between 1969 and 1971? • How does Easy Rider exemplify the new trend of blending high-brow and low-brow film styles? How does this stylistic shift reflect and shape late 1960s/early 1970s discourses of youth?

  3. Rejuvenating Hollywood • Emergence of the film school generation • Film increasingly a part of liberal arts education • A more film-literate audience and a new generation of auteurs • Also trained in “exploitation” methods • New Hollywood targets youth via use of high-brow and low-brow styles Dennis Hopper: Roger Corman protégé; co-writer and director of Easy Rider

  4. “Reel” Revolutionaries • Between 1969 and 1971 major studios produce a cycle of films centered on youth countercultures • Following and coinciding with series of visible and volatile demonstrations • Progressive narrative vs. visual strategies in The Strawberry Statement(1970)

  5. Romancing the Counterculture • Easy Rider (1969) • Representing youthfulness • Generational and geographical tensions • Representing rebellion • Sex, drugs, and rock and roll • The open road • The perils of non-conformity

  6. Next Time on FMS 394

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