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Films more frequently made “on location”

Photo caption: Pickets in support of the Burke-Hartke Bill, legislation introduced in Congress in 1971. Its provisions included broad-ranging import quotas and measures to discourage overseas investment by multinational firms based in the U.S.

In the 1960s and 1970s, the movies underwent a renaissance.  Films like Bonnie and Clyde introduced a new kind of anti-hero to the cinema, as well as a new realism that required much more complex make-up, costuming, props and set design.

Alliance camera operators and cinematographers were asked to supply a whole range of effects, from slow motion to freeze frames and jump cutting.  Some movies even intermingled black and white with color.  Attention to detail became paramount, in decor, in dress and in setting.

Fewer films were being shot on soundstages.  Alliance members found themselves spending more and more time on location.  The use of natural - or natural-seeming - light became prevalent, presenting new challenges for IA lighting technicians.

As the move towards ever more realism increased, IA studio mechanics were called on to stage elaborate and difficult scenes, such as high-speed car chases (as in Bullitt in 1968 or The French Connection in 1971).

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