The story of how the movies assumed a gritty facade in the name of authenticity, with working actors transforming into artists, poets, painters, troubadours, and filmmakers—both on- and off-screen.
 
This is the tale of how Hollywood, inspired by the success of Easy Rider, sold a cycle of films as the new dirty real. Dennis Hopper, Peter Fonda, Monte Hellman, Jack Nicholson, Kris Kristofferson, and Sam Peckinpah, among others, parlayed a nostalgia for the gutter and donned bohemian personae, pulling on soiled shirts and scuffed boots to better counter the glamour and phoniness of Tinseltown. The result was a generation of movies, including The Hired Hand, Five Easy Pieces, Two-Lane Blacktop, The Last Picture Show, and Pat Garrett and Billy the Kid. With great care for the historical record and displaying a refined critical acuity, Peter Stanfield captures that pivotal moment when Hollywood tried to sell a begrimed vision of itself to the world.

Peter Stanfield is professor emeritus of film at the University of Kent. His books include A Band with Built-In Hate: The Who from Pop Art to Punk and Pin-Ups 1972: Third Generation Rock ’n’ Roll, both also published by Reaktion Books. He lives in Kent.

Introduction: Dirt for Dirt’s Own Sake
1 The Hired Hand: Circling Back to the End Again
2 The Last Movie: Dennis Hopper’s Three-Ring Circus
3 The Last Picture Show, Five Easy Pieces and Payday: Cowboy Rhythm on KTRN
4 The Shooting, Ride in the Whirlwind and Two-Lane Blacktop: Who’s Monte Hellman, You Ask?
5 Cisco Pike: Kris Kristofferson Has Got a Great Future behind Him
6 Dirty Little Billy: Scuffling on Madison Ave
7 McCabe and Mrs Miller: Pipe Dreams – Lows and Highs
8 Pat Garrett and Billy the Kid: Angels Descend and Graves Open
Conclusion: Bring Me the Head
Select Filmography
References
Select Bibliography
Photo Acknowledgements
Index