Abstract
While much study has been devoted to the respective revolutionary film movements of France, Italy, and the United State between the years 1960 and 1976, few have attempted a comparative analysis. Even fewer authors and critics have attempted to link each movement's omnipresent themes with their respective political and social superstructures. By looking at a select sample of films from several countries in the designated period, however, one ultimately find similar thematic approaches inextricably linked to those nations' social and political idiosyncrasies. The following essay, in turn, seeks to investigate the relationship between three national cinemas in a sixteen year period, with an eye towards two specific themes—images of corruption and bureaucracy and changing sexual and familial norms.