To what extent may individual autonomy persist under the constraints of group identity? This dualism is particularly salient in new movements that value individual creativity above all, and yet have to muster community cohesion to establish a new style. Using the case of New Hollywood in the 1960s and 1970s, the authors show how this movement reconciled the demands of collective identity and collaboration in film production with their commitment to the individual filmmaker’s artistic autonomy. Using information from the Internet Movie Database on 17,425 filmmakers who were active between 1930 and 1999, the authors show that a cohesive symbolic network, in which New Hollywood filmmakers shared references to a canon of revered films, served as a foundation for the collective identity of this new artistic movement. References include allusions to iconic scenes, settings, and shots of classic films. In contrast, collaborations in film projects yielded a fragmented network that did little to support the creative enterprise of New Hollywood. The evidence suggests that symbolic ties through shared citations allowed New Hollywood filmmakers to realize their vision of autonomous auteur filmmaking and to draw symbolic boundaries that separated them from the old Hollywood studio system.

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在群体认同的约束下，个人自主权能维持到什么程度？这种二元论在新运动中尤为突出，这些新运动首先重视个人创造力，但又必须凝聚社区凝聚力来建立新风格。作者以 20 世纪 60 年代和 1970 年代的新好莱坞为例，展示了这场运动如何调和电影制作中的集体认同和合作的要求与对个人电影制片人艺术自主权的承诺。作者利用互联网电影数据库中关于 1930 年至 1999 年间活跃的 17,425 名电影制作人的信息，表明了一个有凝聚力的象征网络，在这个网络中，新好莱坞电影制作人分享了受人尊敬的电影经典的参考资料，是新好莱坞电影制作人集体身份的基础。这个新的艺术运动。参考内容包括对经典电影的标志性场景、场景和镜头的暗示。相比之下，电影项目的合作产生了一个支离破碎的网络，对支持新好莱坞的创意事业几乎没有什么帮助。证据表明，通过共享引用建立的象征性联系使新好莱坞电影制片人能够实现他们自主导演电影制作的愿景，并划定将他们与旧好莱坞制片厂体系分开的象征性界限。

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