The project analyzes cinematic representations and productions of emotions and emotional expressions in films of the 1970s, from the beginning of the mo(ve)ment that is now widely known as “New Hollywood” to the later part of the decade. Although it rests upon the insights of and debates within Film Studies, the dissertation does not seek to contribute to film history or debates about the aesthetic value of the movies under scrutiny. Rather, it examines the cinema of the period as a specific technology involved in the cultural and political transformations of the 1970s and as a privileged medium to analyze the relationship between the ‘New Left’ and the ‘New Right’. Instead of employing a logic of ‘backlash’ or ‘appropriation’ to make sense of this relationship, the project is interested in the common cultural ground that diverse political actors of the period shared, exploring the affective dimensions of political discourses and regimes of subjectification. In order to do so, the dissertation seeks to forge links between two historical developments: the emergence of ‘emotional subjectivity’, both as a discourse and as a set of new bodily practices, and the rhetoric of crisis that shaped 1970s America. Because of the specific properties of film as a medium and the implication of 1970s movies in the production of emotional subjectivity and the various narratives of crisis, the cinema of the 1970s can be employed to trace this specific connection––but also to address broader questions concerning relations between affect and representation, aesthetics and politics.