A Companion to American Indie Film.
King, Geoff.
A Companion to American Indie Film. - 1st ed. - 1 online resource (545 pages) - Wiley Blackwell Companions to Film Directors Series . - Wiley Blackwell Companions to Film Directors Series .
Intro -- Title Page -- Copyright Page -- Contents -- Contributors -- Acknowledgements -- Introduction What Indie Isn't… Mapping the Indie Field -- Part One Indie Culture -- Chapter 1 Indie Film as Indie Culture -- Autonomy and Authenticity -- Slanted and Enchanted and Indie Game -- Conclusion -- References -- Chapter 2 The Making of the Indie Scene: The Cultural Production of a Field of Cultural Production -- Fields, Scenes, and Movements -- The Work of Culture in Fields/Scenes/Movements -- The Cultural Production of the Field of Cultural Production -- The Artist, the Community, and the Movement -- Notes -- References -- Chapter 3 Indie as Organic: Tracing Discursive Roots -- Roots -- Substance -- Handling -- Effects -- Discursive Roots and Rhetorical Oppositions -- References -- Part Two Indie and Other Media -- Chapter 4 Quirky Culture: Tone, Sensibility, and Structure of Feeling -- Quirky and Indie -- Quirky, Tone, and Structure of Feeling -- The Quirky Sensibility and "Innocence" -- Quirky Culture: Music, Comedy, and Radio -- Conclusion -- Notes -- References -- Chapter 5 Independent Intersections: Indie Music Cultures and American Indie Cinema -- Punk and the Beginnings of a New Independent Cinema -- The Historical Emergence of Indie -- The Growth of Indie -- Into the New Millennium -- Conclusion -- Notes -- References -- Chapter 6 Post-Cinema Soderbergh -- To Recap: Post-Cinema Soderbergh -- The Twittering Soderbergh -- Unglued? Glue and Short Fiction Online and Offline -- The Soderbergh Web -- Soderbergh TV, Round 2 -- Social Media and the Less-Small Screen -- Notes -- References -- Part Three Criticism, Marketing, and Positioning Indie -- Chapter 7 Structuring Indie and Beasts of the Southern Wild: The Role of Review Journalism -- Evaluating Authenticity and Originality -- Shaping a Preferred Indie Aesthetic -- The Stakes for Writers. The Politics of Awarding Distinction -- Conclusion: A Permanent Conflict -- Note -- References -- Chapter 8 Marketing American Indie in the Shadow of Hollywood -- Introduction -- Understanding the Indie in Independent -- Film Selection -- Ain't Them Bodies Saints (2013) -- Blue Jasmine (2013) -- Frances Ha (2013) -- 12 Years a Slave (2013) -- Marketing Indie -- Notes -- References -- Part Four Movements/Moments -- Chapter 9 Proto-Indie 1960s "Half-Way" Cinema -- The Second and Third Waves of Indie Cinema -- The Historical Establishment of the First Wave of Indie Cinema -- Conventions and Viewing of First-Wave Indie Cinema -- Conclusion -- Selected Filmography of First-Wave Indie Cinema -- Notes -- References -- Chapter 10 From Independent to Indie: The Independent Feature Project and the Complex Relationship between American Independent Cinema and Hollywood in the 1980s -- Introduction. Contemporary American Independent Cinema and Institutional Infrastructure -- The Beginnings of the IFP: Marshaling Resources -- Layers of Independence: Navigating between Art and Commerce -- Taking American Independent Cinema to the Next "Level" -- Conclusion - IFP: An (Ultra-) Successful Failure? -- Note -- Notes -- References -- Chapter 11 Going Mainstream: The Indie Film Movement in 1999 -- Introduction -- The Talented Mr. Ripley -- The Sixth Sense and Fight Club -- American Beauty -- The Blair Witch Project -- Aftermath: The Rise of Indiewood -- References -- Chapter 12 Looking through a Rearview Mirror: Mumblecore as Past Tense -- Four Eyed Monsters -- The Actor-Based Films of Andrew Bujalski -- Word and Image: Aaron Katz's Quiet City -- Improvisation, Cassavetes, and Norman Mailer -- Greta Gerwig and Joe Swanberg -- Writing with Somebody's Brain: Ronald Bronstein's Frownland -- Anecdotal Narrative: The Films of Frank V. Ross -- The Ascendance of Mumblecore. The Decline and Death of Mumblecore -- Conclusion -- Notes -- References -- Part Five Indie as Regional -- Chapter 13 The Pull of Place: Regional Indie Film Production -- "Regional" Filmmaking: Historical Place in the Literature -- What is Regional Filmmaking? -- Increased Visibility of Regional Filmmaking -- Rise of Regional: Tax Incentives -- Rise of Regional: Locating Personal and Professional Networks -- Rise of Regional: Thematic/Aesthetic Concerns -- Conclusion -- Note -- References -- Chapter 14 Rural Crimewave: Reconfiguring Regional Spaces through Genre in US Indie Cinema -- Defining the Rural Crime Film -- Frozen River -- Winter's Bone -- A Single Shot -- Casting the Rural Crime Film -- Marketing and Distributing the Rural Crime Film -- Conclusion -- References -- Part Six Aesthetics and Politics -- Chapter 15 Life During Wartime: Emotionalism, Capitalist Realism, and Middle-Class Indie Identity -- Class and Indie Cinema -- Indie Emotionalism -- Spectacular Dysfunction: Young Adult -- Fearful Energy: Touchy Feely -- Conclusion: Indie Class Consciousness -- Notes -- References -- Chapter 16 Indie Cinema and the Neoliberal Commodification of Creative Labor: Rethinking the Indie Sensibility of Christopher Nolan -- Neoliberalism and Independent Cinema -- Indie Filmmakers and the Studio Sector -- Christopher Nolan -- Conclusion -- Note -- References -- Chapter 17 "They Believe Every Fuckin' Word Because You're Super Cool": Masculine Cool '90s Style in Reservoir Dogs -- "Stealing" and Those Suits -- "Men's Cinema" -- Reservoir Dogs' Two Beginnings -- The Severed Ear -- Mr Orange and the Performance(s) of Masculinity -- The End -- Note -- References -- Chapter 18 The Craft of Independent Filmmaking: Editing in John Sayles' Return of the Secaucus Seven and Baby It's You -- Knowing That and Knowing How -- Evaluating John Sayles' Editing. Conclusion: Jack Ryan's Epithets -- Notes -- References -- Part Seven Kickstarting Indie -- Chapter 19 Crowdfunding, Independence, Authorship -- Money -- Authorship -- Moral Economy -- Conclusion -- Notes -- References -- Chapter 20 Go Digital or Go Dark: Crowdfunding, Independent Financing, and Arthouse Exhibition on Kickstarter -- Independent Cinema and Arthouse Exhibition -- Transitioning to Digital Projection -- Crowdfunding and Kickstarter -- The Arthouse Experience: Building Community on Kickstarter -- Kickstarter: Dilemmas and Possibilities -- References -- Part Eight Indie Acting and Stardom -- Chapter 21 Casing Indie Acting -- "Quality" Acting -- John Cusack's Lovers and Losers -- Giancarlo Esposito's Riffs on Race -- Michelle Williams' Working-Class Women -- Lupe Ontiveros's Servants, Solidarity, and Sabotage -- Tapping Talent -- Notes -- References -- Chapter 22 Flexible Stardom: Contemporary American Film and the Independent Mobility of Star Brands -- Star Brands -- Stars, Independence, Flexibility -- Sindiependence and the Hyphenates -- Philip Seymour Hoffman - Flexible Star -- Flexible Stardom and the Space of Independence -- Notes -- References -- Index -- EULA.
9781118758014
Independent films--United States--History and criticism.
Electronic books.
PN1995.9.I457.C667 2017
791.430973
A Companion to American Indie Film. - 1st ed. - 1 online resource (545 pages) - Wiley Blackwell Companions to Film Directors Series . - Wiley Blackwell Companions to Film Directors Series .
Intro -- Title Page -- Copyright Page -- Contents -- Contributors -- Acknowledgements -- Introduction What Indie Isn't… Mapping the Indie Field -- Part One Indie Culture -- Chapter 1 Indie Film as Indie Culture -- Autonomy and Authenticity -- Slanted and Enchanted and Indie Game -- Conclusion -- References -- Chapter 2 The Making of the Indie Scene: The Cultural Production of a Field of Cultural Production -- Fields, Scenes, and Movements -- The Work of Culture in Fields/Scenes/Movements -- The Cultural Production of the Field of Cultural Production -- The Artist, the Community, and the Movement -- Notes -- References -- Chapter 3 Indie as Organic: Tracing Discursive Roots -- Roots -- Substance -- Handling -- Effects -- Discursive Roots and Rhetorical Oppositions -- References -- Part Two Indie and Other Media -- Chapter 4 Quirky Culture: Tone, Sensibility, and Structure of Feeling -- Quirky and Indie -- Quirky, Tone, and Structure of Feeling -- The Quirky Sensibility and "Innocence" -- Quirky Culture: Music, Comedy, and Radio -- Conclusion -- Notes -- References -- Chapter 5 Independent Intersections: Indie Music Cultures and American Indie Cinema -- Punk and the Beginnings of a New Independent Cinema -- The Historical Emergence of Indie -- The Growth of Indie -- Into the New Millennium -- Conclusion -- Notes -- References -- Chapter 6 Post-Cinema Soderbergh -- To Recap: Post-Cinema Soderbergh -- The Twittering Soderbergh -- Unglued? Glue and Short Fiction Online and Offline -- The Soderbergh Web -- Soderbergh TV, Round 2 -- Social Media and the Less-Small Screen -- Notes -- References -- Part Three Criticism, Marketing, and Positioning Indie -- Chapter 7 Structuring Indie and Beasts of the Southern Wild: The Role of Review Journalism -- Evaluating Authenticity and Originality -- Shaping a Preferred Indie Aesthetic -- The Stakes for Writers. The Politics of Awarding Distinction -- Conclusion: A Permanent Conflict -- Note -- References -- Chapter 8 Marketing American Indie in the Shadow of Hollywood -- Introduction -- Understanding the Indie in Independent -- Film Selection -- Ain't Them Bodies Saints (2013) -- Blue Jasmine (2013) -- Frances Ha (2013) -- 12 Years a Slave (2013) -- Marketing Indie -- Notes -- References -- Part Four Movements/Moments -- Chapter 9 Proto-Indie 1960s "Half-Way" Cinema -- The Second and Third Waves of Indie Cinema -- The Historical Establishment of the First Wave of Indie Cinema -- Conventions and Viewing of First-Wave Indie Cinema -- Conclusion -- Selected Filmography of First-Wave Indie Cinema -- Notes -- References -- Chapter 10 From Independent to Indie: The Independent Feature Project and the Complex Relationship between American Independent Cinema and Hollywood in the 1980s -- Introduction. Contemporary American Independent Cinema and Institutional Infrastructure -- The Beginnings of the IFP: Marshaling Resources -- Layers of Independence: Navigating between Art and Commerce -- Taking American Independent Cinema to the Next "Level" -- Conclusion - IFP: An (Ultra-) Successful Failure? -- Note -- Notes -- References -- Chapter 11 Going Mainstream: The Indie Film Movement in 1999 -- Introduction -- The Talented Mr. Ripley -- The Sixth Sense and Fight Club -- American Beauty -- The Blair Witch Project -- Aftermath: The Rise of Indiewood -- References -- Chapter 12 Looking through a Rearview Mirror: Mumblecore as Past Tense -- Four Eyed Monsters -- The Actor-Based Films of Andrew Bujalski -- Word and Image: Aaron Katz's Quiet City -- Improvisation, Cassavetes, and Norman Mailer -- Greta Gerwig and Joe Swanberg -- Writing with Somebody's Brain: Ronald Bronstein's Frownland -- Anecdotal Narrative: The Films of Frank V. Ross -- The Ascendance of Mumblecore. The Decline and Death of Mumblecore -- Conclusion -- Notes -- References -- Part Five Indie as Regional -- Chapter 13 The Pull of Place: Regional Indie Film Production -- "Regional" Filmmaking: Historical Place in the Literature -- What is Regional Filmmaking? -- Increased Visibility of Regional Filmmaking -- Rise of Regional: Tax Incentives -- Rise of Regional: Locating Personal and Professional Networks -- Rise of Regional: Thematic/Aesthetic Concerns -- Conclusion -- Note -- References -- Chapter 14 Rural Crimewave: Reconfiguring Regional Spaces through Genre in US Indie Cinema -- Defining the Rural Crime Film -- Frozen River -- Winter's Bone -- A Single Shot -- Casting the Rural Crime Film -- Marketing and Distributing the Rural Crime Film -- Conclusion -- References -- Part Six Aesthetics and Politics -- Chapter 15 Life During Wartime: Emotionalism, Capitalist Realism, and Middle-Class Indie Identity -- Class and Indie Cinema -- Indie Emotionalism -- Spectacular Dysfunction: Young Adult -- Fearful Energy: Touchy Feely -- Conclusion: Indie Class Consciousness -- Notes -- References -- Chapter 16 Indie Cinema and the Neoliberal Commodification of Creative Labor: Rethinking the Indie Sensibility of Christopher Nolan -- Neoliberalism and Independent Cinema -- Indie Filmmakers and the Studio Sector -- Christopher Nolan -- Conclusion -- Note -- References -- Chapter 17 "They Believe Every Fuckin' Word Because You're Super Cool": Masculine Cool '90s Style in Reservoir Dogs -- "Stealing" and Those Suits -- "Men's Cinema" -- Reservoir Dogs' Two Beginnings -- The Severed Ear -- Mr Orange and the Performance(s) of Masculinity -- The End -- Note -- References -- Chapter 18 The Craft of Independent Filmmaking: Editing in John Sayles' Return of the Secaucus Seven and Baby It's You -- Knowing That and Knowing How -- Evaluating John Sayles' Editing. Conclusion: Jack Ryan's Epithets -- Notes -- References -- Part Seven Kickstarting Indie -- Chapter 19 Crowdfunding, Independence, Authorship -- Money -- Authorship -- Moral Economy -- Conclusion -- Notes -- References -- Chapter 20 Go Digital or Go Dark: Crowdfunding, Independent Financing, and Arthouse Exhibition on Kickstarter -- Independent Cinema and Arthouse Exhibition -- Transitioning to Digital Projection -- Crowdfunding and Kickstarter -- The Arthouse Experience: Building Community on Kickstarter -- Kickstarter: Dilemmas and Possibilities -- References -- Part Eight Indie Acting and Stardom -- Chapter 21 Casing Indie Acting -- "Quality" Acting -- John Cusack's Lovers and Losers -- Giancarlo Esposito's Riffs on Race -- Michelle Williams' Working-Class Women -- Lupe Ontiveros's Servants, Solidarity, and Sabotage -- Tapping Talent -- Notes -- References -- Chapter 22 Flexible Stardom: Contemporary American Film and the Independent Mobility of Star Brands -- Star Brands -- Stars, Independence, Flexibility -- Sindiependence and the Hyphenates -- Philip Seymour Hoffman - Flexible Star -- Flexible Stardom and the Space of Independence -- Notes -- References -- Index -- EULA.
9781118758014
Independent films--United States--History and criticism.
Electronic books.
PN1995.9.I457.C667 2017
791.430973