Bridging commerce and classification through the American art film: the case of Who's afraid of Virginia Woolf? (1966) / The film editors who invented the Hollywood Renaissance: Ralph Rosenblum, Sam O'Steen, and Dede Allen's Bonnie and Clyde (1967) / "I smell money!" class product, The graduate (1967), and the corporatization of embassy / "A triumph of aura over appearance": Barbra Streisand, Funny girl (1968) and the Hollywood Renaissance / The auteurist special effects film: Kubrick's 2001: a space odyssey (1968) and the "single-generation look" / "About as brutal, relevant and exploitable as they come": Medium cool (1969) and political filmmaking / From exploitation to legitimacy: Easy rider (1969) and independent cinema's journey into Hollywood / Hollywood trade: Midnight cowboy (1969) and underground cinema / Zabriskie point (1970), Michelangelo Antonioni and European directors in Hollywood / Becoming Hal Ashby: intersectional politics, the Hollywood Renaissance and Harold and Maude (1971) / A matter of race and gender: Lady sings the blues (1972) and the Hollywood Renaissance canon / De Niro and Scorsese: director-actor collaboration in Mean streets (1973) and the Hollywood Renaissance / Coppola's The conversation (1974) and Walter Murch's sound worlds