The American independent sector has attracted much attention in recent years, an upsurge of academic work on the subject being accompanied by wider public debate. But many questions remain about how exactly independence should be defined and how its relationship might be understood with other parts of the cinematic landscape, most notably the Hollywood studios. Edited and written by leading authors in the field, American Independent Cinema: indie, indiewood and beyond offers an examination of the field through four sections that range in focus from broad definitions to close focus on particular manifestations of independence. A wide variety of examples are included but within a framework that offers insights into how these are related to one another.
More specifically this collection offers:
Together, the chapters in the collection offer a unique contribution to the study of independent film in the United States.
Contributors: Warren Buckland, Philip Drake, Mark Gallagher, Geoff King, Peter Krämer, Novotny Lawrence, James MacDowell, Claire Molloy, Michael Z. Newman, Alisa Perren, James Russell, Thomas Schatz, Michele Schreiber, Janet Staiger, Yannis Tzioumakis, Sarah Wharton
Introduction Part 1 Introduction Chapter 1 Independent of What? Sorting out differences from Hollywood, Janet Staiger Chapter 2 ‘Independent’, ‘Indie’ and ‘Indiewood’: towards a periodisation of contemporary (post-1980) American independent cinema, Yannis Tzioumakis Chapter 3 Thriving or in Permanent Crisis? Discourses on the state of indie cinema, Geoff King Chapter 4 Quirky: buzzword or sensibility?, James MacDowell Part 2 Introduction Chapter 5 Movies for Hipsters, Michael Z. Newman Chapter 6 Discerning Independents: Steven Soderbergh and transhistorical taste cultures, Mark Gallagher Chapter 7 Their Own Personal Velocity: women directors and contemporary independent cinema, Michele Schreiber Chapter 8 Last Indie Standing: the special case of Lions Gate in the new millennium, Alisa Perren Part 3 Introduction Chapter 9 Conglomerate Hollywood and American Independent Film, Thomas Schatz Chapter 10 Reputational capital, creative conflict and Hollywood independence: the case of Hal Ashby, Philip Drake Chapter 11 The Limits of Autonomy: Stanley Kubrick, Hollywood and independent filmmaking, 1950-53, Peter Krämer Chapter 12 Independent nature: wildlife films between Hollywood and indiewood, Claire Molloy Part 4 Introduction Chapter 13 In Hollywood, but not of Hollywood: Independent Christian Filmmaking, James Russell Chapter 14 Welcome to the (neo) grindhouse! Sex, violence and the indie film, Sarah Wharton Chapter 15 Faux Real? C.S.A.: The Confederate States of America as the response to The Birth of a Nation, Novotny Lawrence Chapter 16 Measuring Online Word-of-Mouth: The Initial Reception of Inland Empire (2006) on the Web, Warren Buckland