New Hollywood was foundationally a debatable period in the course of American film history, with distinctive characteristics of new directorial emergence and innovative film style. However, the contemporary industrial context suggested a prominent power of stardom to effectively sustain the business in the new wave of new youth and counterculture. In the inception of the period, Warner Bros., one of the major film studios since the classical Hollywood era, exemplified a star-driven marketing approach using classical glamour and the narrative of nonconformity to attract the target audience. Proven by the studio’s archival evidence, major Hollywood stars in the 1960s made extensive use of their established persona to reframe contemporary perception towards Hollywood stardom. Attributing star marketing power into New Hollywood studies not only complicates the traditional definition of New Hollywood, but also highlights its high cultural and commercial impacts on the Hollywood industry in the countercultural 1960s.
","abstract_html":"<p>New Hollywood was foundationally a debatable period in the course of American film history, with distinctive characteristics of new directorial emergence and innovative film style. However, the contemporary industrial context suggested a prominent power of stardom to effectively sustain the business in the new wave of new youth and counterculture. In the inception of the period, Warner Bros., one of the major film studios since the classical Hollywood era, exemplified a star-driven marketing approach using classical glamour and the narrative of nonconformity to attract the target audience. Proven by the studio’s archival evidence, major Hollywood stars in the 1960s made extensive use of their established persona to reframe contemporary perception towards Hollywood stardom. Attributing star marketing power into New Hollywood studies not only complicates the traditional definition of New Hollywood, but also highlights its high cultural and commercial impacts on the Hollywood industry in the countercultural 1960s.</p>","abstract_has_math":false,"creators":["Singpatanakul, Tham"],"institution":null,"degree_name":"Master of Arts (MA)","degree_level":"Thesis","degree_discipline":"Film Studies","degree_department":null,"school":null,"contributors":["Emily Carman, Ph.D.","Kia Afra, Ph.D.","Erica Aguero, Ph.D."],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2020,"date_issued":"2020-05-01T07:00:00Z","date_published":"2020-05-01T07:00:00Z","updated_at":"2026-07-24T01:38:09Z","subjects":["Hollywood Stardom","New Hollywood","Warner Bros.","Who's Afraid of Virginia Woolf?","Bonnie and Clyde","Cool Hand Luke","Film and Media Studies","Other Film and Media Studies"],"languages":[],"rights":[],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"https://digitalcommons.chapman.edu/film_studies_theses/9","outbound_label":"Repository record","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Emily Carman, Ph.D.","Kia Afra, Ph.D.","Erica Aguero, Ph.D."]},{"key":"dc:creator","label":"Author","values":["Singpatanakul, Tham"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.available","label":"Dc Date Available","values":["2021-05-14T07:00:00Z"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["Film Studies"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Thesis"]},{"key":"thesis:degree_name","label":"Degree Name","values":["Master of Arts (MA)"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Hollywood Stardom","New Hollywood","Warner Bros.","Who's Afraid of Virginia Woolf?","Bonnie and Clyde","Cool Hand Luke","Film and Media Studies","Other Film and Media Studies"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["https://digitalcommons.chapman.edu/film_studies_theses/9"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["New Hollywood was foundationally a debatable period in the course of American film history, with distinctive characteristics of new directorial emergence and innovative film style. However, the contemporary industrial context suggested a prominent power of stardom to effectively sustain the business in the new wave of new youth and counterculture. In the inception of the period, Warner Bros., one of the major film studios since the classical Hollywood era, exemplified a star-driven marketing approach using classical glamour and the narrative of nonconformity to attract the target audience. Proven by the studio’s archival evidence, major Hollywood stars in the 1960s made extensive use of their established persona to reframe contemporary perception towards Hollywood stardom. Attributing star marketing power into New Hollywood studies not only complicates the traditional definition of New Hollywood, but also highlights its high cultural and commercial impacts on the Hollywood industry in the countercultural 1960s.
"]},{"key":"dc:source","label":"Dc Source","values":["Singpatanakul, Tham. \"Revitalizing Hollywood Stardom: Classical Star Power and Enduring Marketability at Warner Bros. in the Beginning of New Hollywood.\" Master's thesis, Chapman University, 2020. https://doi.org/10.36837/chapman.000153"]},{"key":"dc:title","label":"Title","values":["Revitalizing Hollywood Stardom: Classical Star Power and Enduring Marketability at Warner Bros. in the Beginning of New Hollywood"]}]}],"canonical_facts":{"dc:contributor":["Emily Carman, Ph.D.","Kia Afra, Ph.D.","Erica Aguero, Ph.D."],"dc:creator":["Singpatanakul, Tham"],"dc:date.available":["2021-05-14T07:00:00Z"],"dc:description.abstract":["New Hollywood was foundationally a debatable period in the course of American film history, with distinctive characteristics of new directorial emergence and innovative film style. However, the contemporary industrial context suggested a prominent power of stardom to effectively sustain the business in the new wave of new youth and counterculture. In the inception of the period, Warner Bros., one of the major film studios since the classical Hollywood era, exemplified a star-driven marketing approach using classical glamour and the narrative of nonconformity to attract the target audience. Proven by the studio’s archival evidence, major Hollywood stars in the 1960s made extensive use of their established persona to reframe contemporary perception towards Hollywood stardom. Attributing star marketing power into New Hollywood studies not only complicates the traditional definition of New Hollywood, but also highlights its high cultural and commercial impacts on the Hollywood industry in the countercultural 1960s.
"],"dc:identifier":["https://digitalcommons.chapman.edu/film_studies_theses/9"],"dc:source":["Singpatanakul, Tham. \"Revitalizing Hollywood Stardom: Classical Star Power and Enduring Marketability at Warner Bros. in the Beginning of New Hollywood.\" Master's thesis, Chapman University, 2020. https://doi.org/10.36837/chapman.000153"],"dc:subject":["Hollywood Stardom","New Hollywood","Warner Bros.","Who's Afraid of Virginia Woolf?","Bonnie and Clyde","Cool Hand Luke","Film and Media Studies","Other Film and Media Studies"],"dc:title":["Revitalizing Hollywood Stardom: Classical Star Power and Enduring Marketability at Warner Bros. in the Beginning of New Hollywood"],"thesis:degree_discipline":["Film Studies"],"thesis:degree_level":["Thesis"],"thesis:degree_name":["Master of Arts (MA)"]},"updated_at":"2026-07-24T01:38:09Z"}