The decision to change content in the 1960s came from the realization of the social role of film, and the need to free film from its simple function in providing entertainment. The quality of film had an impact on the quality of life of millions of people in the world. The social commitment to film had a great impact on the nature of film production. The need for a more socially conscious film culture resulted in new genres of film. The decision of the time of day to show film became a factor when the public was searching for something other than the constant stream of commercials on television. The neo-art house could not be found in the gritty urban landscapes of the 1980s and 1990s.
The rise of the neo-art house was influenced by the development of the arts elsewhere in the world. The roots of the neo-art house in Europe can be traced to the mid-1960s. The fact that film was recognized as a legitimate art in Europe began to influence the social climate for film in the U.S. Between 1961 and 1968, Europe became the destination for the vast majority of feature films made in the U.S.
The hippies were influenced by the Beat Generation, but they were also influenced by the free spirit of Europe where music and theater were included in film. The hippy generation rejected the domestic life of the 1950s and 1960s. Hippies demanded authenticity, something that felt real.
The success of the neo-art house did not begin in the U.S., but was based on the long-term successes of the French and Italian neo-art houses. The French and Italian neo-art houses in the 1960s and early 1970s were influenced by the Beat Generation and influenced by the inclusion of music in film.
At the turn of the 20th Century , film exhibitors were a part of the filmmaking process. Early film exhibitors were often large commercial film companies with extensive, if not well-funded, projection departments. As film companies grew and grew, the distinction between exhibition and production became increasingly blurred. Until the System .
Prior to film’s domestication, the distinction between exhibitors and exhibition was not blurred. Exhibitors were not much involved with the film making process. The reality was that during the long silent era most exhibitors were only interested in exploiting their monopolistic position. In other words, exhibitors were interested in extracting the maximum returns out of the scarce market for motion picture films.
The most important pre- and inter-cinematic cultural activities including preservation, restoration, digitization, and projection (and in some cases, installation) of film history and the future of such work can be characterized as exhibitive labor. For example, the 1964 restoration of The Birth of a Nation by Lillian Loeb was performed in very much the same manner as the monumental restoration of the Birth of a Nation silent first version by the BFI in 1998. Both were undertaken to preserve a cultural artifact for future generations. 827ec27edc