THE story of what is often called New Hollywood, the era of the easy riders, raging bulls, to borrow the title of Peter Biskind’s 1998 best seller, has been told numerous times. It goes something like this: By the early 1960s the old studio system was in shambles, run by old men who, out of touch with the times-they-are-a-changin’, were churning out pricey duds like to shrinking, indifferent audiences.


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