A Companion to American Indie Film (eBook)

Geoff King (Herausgeber)

eBook Download: EPUB

2016
John Wiley & Sons (Verlag)
978-1-118-75808-3 (ISBN)

Infos

A Companion to American Indie Film features a comprehensive collection of newly commissioned essays that represent a state-of-the-art resource for understanding key aspects of the field of indie films produced in the United States.

• Takes a comprehensive and fresh new look at the topic of American indie film
• Features newly commissioned essays from top film experts and emerging scholars that represent the state-of-the-art reference to the indie film field
• Topics covered include: indie film culture; key historical moments and movements in indie film history; relationships between indie film and other indie media; and issues including class, gender, regional identity and stardom in in the indie field
• Includes studies of many types of indie films and film genres, along with various filmmakers and performers that have come to define the field

Geoff King is Professor of Film Studies at Brunel University London, UK. He is the author of numerous books on American film topics, including American Independent Cinema (2005), Indiewood, USA: Where Hollywood Meets Independent Cinema (2009), Indie 2.0: Change and Continuity in Contemporary American Indie Film (2014) and Quality Hollywood: Markers of Distinction in Contemporary Studio Film (2016).

Inhalt

Contributors viii

Acknowledgements xii

Introduction: What Indie Isn't... Mapping the Indie Field 1
Geoff King

Part OneIndie Culture 23

1 Indie Film as Indie Culture 25
Michael Z. Newman

2 The Making of the Indie Scene: The Cultural Production of a Field of Cultural Production 42
Sherry B. Ortner

3 Indie as Organic: Tracing Discursive Roots 58
Geoff King

Part TwoIndie and Other Media 81

4 Quirky Culture: Tone, Sensibility, and Structure of Feeling 83
James MacDowell

5 Independent Intersections: Indie Music Cultures and American Indie Cinema 106
Jamie Sexton

6 Post?]Cinema Soderbergh 129
Mark Gallagher

Part ThreeCriticism, Marketing, and Positioning Indie 153

7 Structuring Indie and Beasts of the Southern Wild: The Role of Review Journalism 155
Erin Pearson

8 Marketing American Indie in the Shadow of Hollywood 181
Finola Kerrigan

Part FourMovements/Moments 207

9 Proto?]Indie: 1960s "Half?]Way" Cinema 209
Janet Staiger

10 From Independent to Indie: The Independent Feature Project and the Complex Relationship between American Independent Cinema and Hollywood in the 1980s 233
Yannis Tzioumakis

11Going Mainstream: The Indie Film Movement in 1999 257
Thomas Schatz

12 Looking through a Rearview Mirror: Mumblecore as Past Tense 279
J.J. Murphy

Part FiveIndie as Regional 301

13 The Pull of Place: Regional Indie Film Production 303
Mary P. Erickson

14 Rural Crimewave: Reconfiguring Regional Spaces through Genre in US Indie Cinema 325
John Berra

Part SixAesthetics and Politics 347

15 Life During Wartime: Emotionalism, Capitalist Realism, and Middle?]Class Indie Identity 349
Claire Perkins

16 Indie Cinema and the Neoliberal Commodification of Creative Labor: Rethinking the Indie Sensibility of Christopher Nolan 368
Claire Molloy

17 "They Believe Every Fuckin' Word Because You're Super Cool": Masculine Cool '90s Style in Reservoir Dogs 389
Stella Bruzzi

18 The Craft of Independent Filmmaking: Editing in John Sayles' Return of the Secaucus Seven and Baby It's You 407
Warren Buckland

Part SevenKickstarting Indie 431

19 Crowdfunding, Independence, Authorship 433
Chuck Tryon

20 Go Digital or Go Dark: Crowdfunding, Independent Financing, and Arthouse Exhibition on Kickstarter 452
Sarah E.S. Sinwell

Part EightIndie Acting and Stardom 469

21 Casing Indie Acting 471
Chris Holmlund

22 Flexible Stardom: Contemporary American Film and the Independent Mobility of Star Brands 493
Paul McDonald

Index 000

Textauszug

Contributors

John Berra is a lecturer in film and language studies at Renmin University of China. He is the author of Declarations of Independence: American Cinema and the Partiality of Independent Production (Intellect, 2008) and the editor of the Directory of World Cinema: American Independent (Intellect, 2010 and 2013). He has also contributed to A Companion to Film Noir (Wiley Blackwell, 2013) and US Independent Filmmaking After 1989: Possible Films (Edinburgh University Press, 2015).

Stella Bruzzi is Professor of Film and Television Studies at the University of Warwick, UK, and a Fellow of the British Academy. Her key research areas to date are documentary film and television; costume, fashion, and film; masculinity and cinema. Her publications include Men’s Cinema: Masculinity in Post‐war Hollywood (Edinburgh University Press, 2013), Bringing Up Daddy: Fatherhood and Masculinity in Postwar Hollywood (BFI, 2005), New Documentary (Routledge, 2000 and 2006), and Undressing Cinema: Clothing and Identity in the Movies (Routledge, 1997).

Warren Buckland is Reader in Film Studies at Oxford Brookes University. His areas of research include film theory (The Routledge Encyclopedia of Film Theory, co‐edited with Edward Branigan, 2014; Film Theory: Rational Reconstructions, 2012; Film Theory and Contemporary Hollywood Movies, ed., 2009; The Cognitive Semiotics of Film, 2000), contemporary Hollywood cinema (Directed by Steven Spielberg: Poetics of the Contemporary Hollywood Blockbuster, 2006), and film narratology (Puzzle Films: Complex Storytelling in Contemporary Cinema, ed., 2009).

Mary P. Erickson teaches media studies at Western Washington University. Her research foci include American and global audiovisual media industries, independent film, cultural policy, and communication technologies. She is co‐editor of The Meaning of Independence: Independent Filmmaking Around the Globe (University of Toronto Press, 2015) and Cross‐Border Cultural Production: Economic Runaway or Globalization? (Cambria Press, 2008). Her research has been published in Film History, International Journal of Cultural Policy, and The YouTube Reader, among other publications.

Mark Gallagher is an associate professor in film and television studies at the University of Nottingham. He is the author of Another Steven Soderbergh Experience: Authorship and Contemporary Hollywood (University of Texas Press, 2013) and Action Figures: Men, Action Films and Contemporary Adventure Narratives (Palgrave Macmillan, 2006), and co‐editor of East Asian Film Noir (I.B. Tauris, 2015).

Chris Holmlund teaches film at the University of Tennessee. She is the author of Impossible Bodies (Routledge, 2002), editor of The Ultimate Stallone Reader: Sylvester Stallone as Star, Icon, Auteur (Wallflower, 2014), American Cinema of the 1990s (Rutgers University Press, 2008), and co‐editor (with Justin Wyatt) of Contemporary American Independent Film (Routledge, 2005) and (with Cynthia Fuchs) of Between the Sheets, In the Streets (Minnesota University Press, 1997). Current book projects include Female Trouble and Being John Malkovich.

Finola Kerrigan is a senior lecturer in marketing at Birmingham Business School. Her research is in the field of marketing, specifically marketing within the arts and cultural industries. To date this research has focused on production and consumption issues in film and the visual arts, topics related to social media and branding. She has published her work in a range of marketing and communications journals and is the author of Film Marketing (Elsevier, 2010).

Geoff King is Professor of Film Studies at Brunel University London, and author of books including American Independent Cinema (2005), Indiewood, USA: Where Hollywood Meets Independent Film (2009), Indie 2.0: Change and Continuity in Contemporary American Indie Film (2013), Quality Hollywood: Markers of Distinction in Contemporary Studio Film (2016), and Positioning Art Cinema: Film and the Articulation of Cultural Value (forthcoming).

James MacDowell is Assistant Professor in Film Studies at the University of Warwick. He is the author of Happy Endings in Hollywood Cinema: Cliché, Convention and the Final Couple (2013) and an editorial board member of Movie: A Journal of Film Criticism, and his monograph Irony in Film is forthcoming from Palgrave MacMillan.

Paul McDonald is Professor of Cultural and Creative Industries at King’s College London. He is the author of Hollywood Stardom (2013), Video and DVD Industries (2007), and The Star System: Hollywood’s Production of Popular Identities (2000), and co‐editor of Hollywood and the Law (2015) and The Contemporary Hollywood Film Industry (2008). He jointly edits the International Screen Industries series from BFI Publishing, and he is a member of the founding editorial collective for the journal Media Industries. He established and is currently co‐chair of the SCMS Media Industries Scholarly Interest Group, and founded and co‐ordinates the Screen Industries Work Group of the European Network for Cinema and Media Studies.

Claire Molloy is Professor of Film, Television and Digital Media at Edge Hill University. Her recent publications include the books Memento (2010), Popular Media and Animals (2012), and the co‐edited collections Beyond Human: From Animality to Transhumanism (2011) and American Independent Cinema: Indie, Indiewood and Beyond (2013). She is currently writing Eco‐entertainment: The Business and Politics of Nature as Entertainment and co‐editing The Routledge Companion to Film and Politics.

J.J. Murphy is Professor of Film and Hamel Family Distinguished Chair in the Department of Communication Arts at the University of Wisconsin – Madison. He is the author of Me and You and Memento and Fargo: How Independent Screenplays Work (Bloomsbury, 2007) and The Black Hole of the Camera: The Films of Andy Warhol (University of California Press, 2012). He has published articles in Film Quarterly, Film Culture, Millennium Film Journal, and The Journal of Screenwriting.

Michael Z. Newman is an associate professor in the Department of Journalism, Advertising, and Media Studies at the University of Wisconsin – Milwaukee. He is the author of Indie: An American Film Culture and Video Revolutions: On the History of a Medium, and co‐author of Legitimating Television: Media Convergence and Cultural Status.

Sherry B. Ortner is Distinguished Professor of Anthropology at the University of California, Los Angeles. She publishes in the areas of social and cultural theory, feminist theory, and American studies. Her most recent book is Not Hollywood: Independent Film at the Twilight of the American Dream.

Claire Perkins is Senior Lecturer in Film and Screen Studies at Monash University, Melbourne. She is the author of American Smart Cinema (Edinburgh University Press, 2012) and co‐editor of Indie Reframed: Women’s Filmmaking and Contemporary American Independent Cinema (Edinburgh University Press, 2016), US Independent Film After 1989: Possible Films (Edinburgh University Press, 2015), B is for Bad Cinema: Aesthetics, Politics and Cultural Value (SUNY Press, 2014), and Film Trilogies: New Critical Approaches (Palgrave Macmillan, 2012).

Erin Pearson is a PhD candidate at the University of East Anglia. Her work explores the ways in which promotional materials shape the discursive and physical spaces of American indie film culture. She is the review editor for the online peer‐reviewed journal Intensities: The Journal of Cult Media, and is a contributor to Intellect’s World Film Locations: Sydney (2014) and Directory of World Cinema: Britain (Volume 2) (2015).

Thomas Schatz is professor and former chairman of the Radio‐Television‐Film Department at the University of Texas, where he has been on the faculty since 1976 and currently holds the Mary Gibbs Jones Centennial Chair. He has written four books (and edited many others) about Hollywood films and filmmaking, including Hollywood Genres, The Genius of the System: Hollywood Filmmaking in the Studio Era, and Boom and Bust: American Cinema in the 1940s. His writing on film has appeared in The New York Times, the Los Angeles Times, Premiere, The Nation, Film Comment, Cineaste, and elsewhere. He is currently working on a history of Hollywood in the contemporary conglomerate era, which was recently awarded a Film Scholars grant by the Academy of Motion Pictures Arts and Sciences.

Jamie Sexton is Senior Lecturer in Film and Television Studies at Northumbria University, UK. He is the co‐author of Cult Cinema (Wiley Blackwell, 2010) and co‐editor of the book series Cultographies (Wallflower/Cambridge University Press). He is currently working on two manuscripts: one on the film Stranger than Paradise for the Cultographies series, and Freak Scenes: American Independent Cinema and Indie Music Cultures for University of Edinburgh Press.

Sarah E.S. Sinwell...

Produkt-Details

• Erscheint lt. Verlag: 19.10.2016
• Reihe/Serie: WBCF - Wiley-Blackwell Companions to Film Directors
• Reihe/Serie: WBCF - Wiley-Blackwell Companions to Film Directors
• Reihe/Serie: Wiley Blackwell Companions to Film Directors
• Sprache: englisch
• Themenwelt: Kunst / Musik / Theater ► Film / TV
• Themenwelt: Sozialwissenschaften ► Soziologie
• Schlagworte: American film • american films • American independent films • American indie films • Amerikanische Filmkunst • Cultural Studies • Film • Filmforschung • Film Studies • Hollywood indies • Independent Cinema • independent films • indie films • Kino • Kulturwissenschaften • Spielberg, Steven
• ISBN-10: 1-118-75808-0 / 1118758080
• ISBN-13: 978-1-118-75808-3 / 9781118758083