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All three days featured a special keynote address and ended with the screenings of key films from that era: (Francis Ford Coppola, 1979).Women’s contributions featured in various ways during the conference.In recent scholarship in this area, he commented that ‘there has been a strong emphasis on looking beyond a director-centred or auteurist cinema that has tended to dominate existing studies and a focus instead on such issues as the role of other collaborators, the distinction between myth and fact, an examination of little-seen films and little-discussed companies and indeed an emphasis on the ways in which we can potentially reassess the period with the help of these new perspectives and focal points.For me, all these developments are very positive and are bound to produce new and exciting work on the topic.

[1] Aaron Hunter is on a two-year postdoctoral fellowship which focuses on Women and New Hollywood, based at Maynooth University, Department of Media Studies and sponsored by the Irish Research Council.

And I think female scholarship/scholarship on women and the Hollywood Renaissance can play a vital part in this project.’ As Robert Kolker also reflected: ‘it was especially gratifying to meet so many young scholars.

Their passion for the field proves not only the lasting value of American films of the 1960s and 70s, but also the health of cinema studies.’ The conference was hosted and organised by academics and staff from the School of Creative Studies and Media which is part of the College of Arts and Humanities at Bangor University.

My own presentation focused on the under-explored function of melodrama in the New Hollywood films, taking Martin Scorsese’s (1976) as an example of the way in which the woman in this era is typically displaced from the central position she occupied in the melodramas of Classical Hollywood.

The function of melodrama featured elsewhere in relation to male film directors.