many other lists of 50 and 100 greatest films, including ones compiled by Leonard Maltin, Entertainment Weekly, Film4, Rolling Stone, Total Film, TV Guide, and Vanity Fair. In 2001, the United States Library of Congress selected it for preservation in the National Film Registry, recognizing it as a landmark horror film and the first "summer movie". In 2006, its screenplay was ranked the 63rd-best of all time by the Writers Guild of America. In 2012, the Motion Picture Editors Guild listed the film as the eighth best-edited film of all time based on a survey of its membership. Jaws was key in establishing the benefits of a wide national release backed by heavy television advertising, rather than the traditional progressive release in which a film slowly entered new markets and built support over time. Saturation booking, in which a film opens simultaneously at thousands of theaters, and massive media buys are now commonplace for the major Hollywood studios. According to Peter Biskind, Jaws "diminished the importance of print reviews, making it virtually impossible for a film to build slowly, finding its audience by dint of mere quality. ... Moreover, Jaws whet corporate appetites for big profits quickly, which is to say, studios wanted every film to be Jaws." Scholar Thomas Schatz writes that it "recalibrated the profit potential of the Hollywood hit, and redefined its status as a marketable commodity and cultural phenomenon as well. The film brought an emphatic end to Hollywood's five-year recession, while ushering in an era of high-cost, high-tech, high-speed thrillers." Jaws also played a major part in establishing summer as the prime season for the release of studios' biggest box-office contenders, their intended blockbusters; winter had long been the time when most hoped-for hits were distributed, while summer was largely reserved for dumping films thought likely to be poor performers. Jaws and Star Wars are regarded as marking the beginning of the new U.S. film industry business model dominated by "high-concept" pictures—with premises that can be easily described and marketed—as well as the beginning of the end of the New Hollywood period, which saw auteur films increasingly disregarded in favor of profitable big-budget pictures. The New Hollywood era was defined by the relative autonomy filmmakers were able to attain within the major studio system; in Biskind's description, "Spielberg was the Trojan horse through which the studios began to reassert their power." The film had broader