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This anthology addresses the salient aesthetic, ideological and economic determinants of independent American cinema over the past three decades.
This revised and updated new edition provides a guide to 100 of the most interesting and influential American independent films, from Bonnie and Clyde to Junebug by way of Reservoir Dogs and The Blair With Project with an introduction to the genre and a rich selection of images from the films discussed, plus key credits.
This revised and updated new edition provides a guide to 100 of the most interesting and influential American independent films, from Bonnie and Clyde to Junebug by way of Reservoir Dogs and The Blair With Project with an introduction to the genre and a rich selection of images from the films discussed, plus key credits.
This guide gives the lowdown on maverick filmmaking, from sleazy exploitation flicks and satirical documentaries to chilling horror movies and quirky suburban dramas.
The independent sector has produced many of the most distinctive films to have appeared in the US in recent decades. From 'Sex, Lies and Videotape' in the 1980s to 'The Blair Witch Project' and New Queer Cinema in the 1990s and the ultra-low budget digital video features of the 2000s, indie films have thrived, creating a body of work that stands out from the dominant Hollywood mainstream. But what exactly is 'independent' cinema? This, the first book to examine the question in detail, argues that independence can be defined partly in industry terms but also according to formal and aesthetic strategies and by distinctive attitudes towards social and political issues, suggesting that independence is a dynamic rather than a fixed quality. Chapters focus on distribution and relationships with Hollywood studios; narrative ('Clerks' and 'Slacker' to 'Pulp Fiction', 'Magnolia' and 'Memento') and other formal dimensions (from 'Blair Witch's' 'authenticity' to expressive and stylized camerawork and editing in work from Harmony Korine to the Coen brothers); approaches to genre and alternative socio-political visions.
The most important development in American culture of the last two decades is the emergence of independent cinema as a viable alternative to Hollywood's safe and innocuous entertainment. Indeed, while Hollywood studios devote much of their time and energy to churning out big-budget, star-studded event movies, a renegade independent cinema that challenges mainstream fare continues to flourish with strong critical support and loyal audiences.
With chapters on under-explored cinemas as well as traditional centres, Independent Filmmaking around the Globe explores how contemporary independent filmmaking increasingly defines the global cinema of our time.
The pioneering anthropologist Sherry B. Ortner combines her trademark ethnographic expertise with critical film interpretation to explore the independent film scene in New York and Los Angeles since the late 1980s. Not Hollywood is both a study of the lived experience of that scene and a critical examination of America as seen through the lenses of independent filmmakers. Based on interviews with scores of directors and producers, Ortner reveals the culture and practices of indie filmmaking, including the conviction of those involved that their films, unlike Hollywood movies, are "telling the truth" about American life. These films often illuminate the dark side of American society through narratives about the family, the economy, and politics in today's neoliberal era. Offering insightful interpretations of many of these films, Ortner argues that during the past three decades independent American cinema has functioned as a vital form of cultural critique.
"Looking beyond the directors and works that have branded indie discourse in the 1990s and 2000s, US Independent Film After 1989: Possible Films attends to a group of 20 texts that have not been so fully subsumed by existing critical and promotional rhetoric. Through individual studies of films including All the Real Girls, The Exploding Girl, Laurel Canyon, Jesus' Son, Old Joy, Primer and You Can Count on Me, leading cinema scholars consider how notions of indie practice, poetics and politics can be opened up to account for a larger body of work than the dominant canon admits. With particular attention to female directors, this innovative and comprehensive book explores the central tenets of indie scholarship while simultaneously emphasising the classifying processes that can limit it."--Quatrième de couverture.
Edited and written by leading authors in the field, this book offers an examination of American independent cinema through four sections that range in focus from broad definitions to close focus on particular manifestations of independence.