Contemporary American Independent Film: From the Margins to by Christine Holmlund, Justin Wyatt

By Christine Holmlund, Justin Wyatt

From effortless Rider to The Blair Witch undertaking, this booklet is a complete exam of the self reliant movie scene. Exploring the uneasy courting among self sufficient motion pictures and the most important studios, the participants hint the altering principles and definitions of self sufficient cinema, and the variety of autonomous movie practices. they think about the ways that indie motion pictures are advertised and dispensed, and the way new applied sciences reminiscent of video, cable and the web, provided new possibilities for filmmakers to supply and marketplace autonomous movies. Turning to the paintings of key auteurs resembling John Sayles and Haile Gerima, individuals ask even if self sustaining filmmakers is additionally stars, and view how indie good points like Boys do not Cry and buying Fangs deal with problems with gender, sexuality and ethnicity commonly kept away from through Hollywood. For all scholars of movie reviews and American stories, this cultural trip via self sufficient movie background could be an absolute needs to learn.

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Contemporary American Independent Film: From the Margins to the Mainstream

From effortless Rider to The Blair Witch venture, this publication is a entire exam of the self reliant movie scene. Exploring the uneasy courting among self sustaining motion pictures and the most important studios, the individuals hint the altering rules and definitions of self sufficient cinema, and the variety of autonomous movie practices.

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The essays reprinted in Part I identify and explore three—often overlapping—groups of films: • ‘auteur’ films (including avant-garde work); • identity-based/socially conscious films; and • exploitation films. Some essays additionally look back to films made in the 1930s–1950s; a few discuss 1980s’ developments. Drawn from sources that range from the now defunct American Film to ongoing journals (Film Comment and The Velvet Light Trap) to academic monographs published between 1978 and 1992, each essay was written with a specific audience in mind.

After a few abortive attempts to reach this audience via small ‘counterculture’ films, the majors turned their attentions toward milking bigger profits out of fewer films, focusing on the ‘blockbusters’ that came to symbolize Hollywood in the 1970s. 8 Such increases are far greater than the national rate of inflation, and represent a trend among the majors toward the increasing concentration of capital in fewer, more profitable productions. Never before had such an enormous gap existed between Hollywood’s majors and its independents.

Their delightful interviews with old Jewish agitators contradict the image of anarchists as crazy bomb throwers and reveal the paradoxical gentleness that infused their eccentric politics. Similarly, Image Before My Eyes—a documentary on Polish—Jewish culture before the Holocaust which enjoyed a surprisingly successful commercial run in New York— ‘brings to light the unpublicized, unsung threads of Jewish history,’ according to director Josh Waletzky. The film interweaves photographs, rare home movies of the period, and interviews with Holocaust survivors.

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