By Geoff King
A better half to American Indie movie features a accomplished selection of newly commissioned essays that signify a cutting-edge source for knowing key elements of the sphere of indie motion pictures produced within the United States.
- Takes a complete and clean new examine the subject of yankee indie film
- Features newly commissioned essays from most sensible movie specialists and rising students that characterize the state of the art connection with the indie movie field
- Topics lined comprise: indie movie tradition; key old moments and events in indie movie heritage; relationships among indie movie and different indie media; and concerns together with category, gender, neighborhood id and stardom in within the indie field
- Includes reports of many varieties of indie motion pictures and movie genres, besides quite a few filmmakers and performers that experience come to outline the field
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Extra resources for A companion to American indie film
Key dimensions of performance highlighted by Holmlund are those that make claims to the status of naturalism (or neonaturalism), modernism, or postmodernism, each of which can be understood as marking distinctions from the approaches usually associated with the mainstream/Hollywood norm. A focus on neonaturalism, including an acting style based on impersonation and transformation, as opposed to typecasting or the showcasing of persona, correlates closely with the wider claims to various kinds of authenticity that figure centrally in indie discourse.
In The Rock History Reader, edited by Theo Catiforis, 247–253. New York: Routledge. Hebdige, Dick. 1979. Subculture: The Meaning of Style. London: Routledge. Hesmondhalgh, David. 1999. ” Cultural Studies, vol. 13, no. 1: 34–61. Huyssen, Andreas. 1986. ” In After the Great Divide: Modernism, Mass Culture, Postmodernism, 44–64. Bloomington: Indiana University Press. King, Geoff. 2014. 0: Change and Continuity in Contemporary American Indie Film. B. Tauris. Mann, Denise. 2008. Hollywood Independents: The Postwar Talent Takeover.
These stretch in her telling back to the postwar years in the United States, “when many artists established the tenets of networking, making art outside the mainstream, valuing creativity above profit, and working at the grassroots level, which were revived in the eighties indie scene” (Oakes 2009, 12). Despite the vagueness of her description, Oakes makes it clear that a common lineage connects many disparate scenes: Beat poets, guerilla theater performers, punks and riot grrrls, zinesters, underground comic book artists, and indie rockers of the 1990s all share the same spirit of countercultural inventiveness and refusal to compromise.