American independent cinema: an introduction
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Edinburgh
Edinburgh University Press
[2017]
|
| Ausgabe: | Second Edition |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Klappentext |
| Beschreibung: | First edition published 2006 |
| Beschreibung: | xxiii, 328 Seiten Illustrationen 25 cm |
| ISBN: | 9781474416849 9781474416825 |
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Datensatz im Suchindex
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|---|---|
| adam_text | Contents
List of tables ix
List of case studies x
List of figures xi
Acknowledgements for the first edition xiii
Acknowledgements for the second edition xvi
Preface to the second edition xviii
Introduction: problems of definition and the discourse of American
independent cinema 1
Notes 13
Part I. American independent cinema in the studio years
(mid- 1920s to late 1940s)
1 Independent filmmaking in the studio era: tendencies within the
studio system 17
Introduction 17
The first independents 18
Independents before the formation of the studios 22
Independents in the age of oligopoly 27
The second period (1940-8) 42
Conclusion 55
Notes 55
vi American independent cinema
2 Independent filmmaking in the studio era: the Poverty Row studios
and beyond (1930s to 1950s) 58
Introduction 58
The first period (1930-9) 60
The second period (1940 to early 1950s) 74
Conclusion 84
Beyond Poverty Row: ethnic films 84
Notes 88
Part II. American independent cinema in the post-studio era
(late 1940s to late 1960s)
3 Independence by force: the effects of the Paramount decree on
independent film production 95
Introduction 95
The Paramount decree 97
The post-war recession 98
Identity crisis 101
United Artists’revival 103
Independent production the United Artists way 106
The reasons for United Artists’ success 114
The triumph of a brand of independent production ... and of
the majors 117
Conclusion 121
Notes 121
4 An audience for the independents: exploitation films for the nations
youth 124
Introduction 124
The emergence of the teenager and the rise of the youth audience 125
From Poverty Row to exploitation and showmanship 127
The era of the drive-in theatres 129
Low-end independents against television 131
The exploitation teenpic and the companies behind it 133
The majors and the low-budget exploitation market 147
Conclusion 148
Notes 149
Contents vil
Part III. American independent cinema and the ‘New Hollywood
(late 1960s to late 1970s)
5 The New Hollywood and the independent Hollywood 155
Introduction 155
The New American Cinema 157
The influence of John Cassavetes 159
The New Hollywood 165
Conclusion 170
Notes 174
6 American independent cinema in the age of the conglomerates 175
Introduction 175
Raising the stakes 178
Economic opportunities in the low-budget independent sector
(late 1960s to 1974) 180
The end of exploitation as we know it 182
The gradual rise and rapid fall of American International Pictures 188
From the theatrical to the video market 190
A new hope: the birth of the new American independent cinema 191
Conclusion 195
Notes 198
Part IV. Contemporary American independent cinema ( 1980s to date)
7 Mini-majors and major independents 203
Introduction 203
A star is born 206
The new Orion constellation 209
The shining star 211
The fading star 214
The last bonfires 216
The fall 217
Conclusion 218
Notes 222
8 The institutionalisation of American independent cinema 224
Introduction 224
A business of co-dependants 227
Institutional framework (l): organisations dedicated to
supporting independent filmmaking, finance opportunities and
independent distributors 231
viii American independent cinema
Institutional framework (2): the studio specialty film divisions 239
The aesthetics factor 246
Conclusion 250
Notes 253
9 American independent cinema in the age of media convergence 257
Introduction 257
The success of indiewood 261
The studio pullout and the demise of Miramax 271
Beyond indiewood: digital filmmaking and the regeneration of
American independent cinema 276
Conclusion: consolidation and independence, oligopoly and
autonomy 288
Notes 290
Epilogue: from independent cinema to specialty content 293
Notes 299
Bibliography 300
Index 314
Films, filmmakers and film companies
examined include:
• Cagney Productions and
johnny Come Lately, Blood on the Sun
and The Time of Your Life
• John Ford and Stagecoach
• The Charlie Chan film series and
Charlie Chan in the Chinese Cat
• Lomitas Productions, Stanley Kramer and
The Defiant Ones, On the Beach
and Inherit the Wind
• William Castle and Macabre
• John Cassavetes and Shadows
* Dennis Hopper and The Last Movie
• American International Pictures
and foxy Brown
• John Sayles and Return of the Secaucus 7
• Filmhaus Productions, David Mamet
and House of Carnes
• Steven Soderbergh and
sex, lies, and videotape
• Kevin Smith and Clerks
• Fox Searchlight and Sideways
• Duplass Brothers Productions,
Sean Baker and Tangerine
• Monogram, Republic Pictures and
Producers Releasing Corporation
• Embassy Pictures, New World Pictures,
Dimension and Crown International
• Orion Pictures
• Phoenix Pictures
• The Sundance Institute
This introduction to American independent cinema offers both
a comprehensive industrial and economic history of the sector
from the early twentieth century to the present, and a study of
key individual films, filmmakers and film companies.
Ordered chronologically, the book begins with independent
filmmaking in the studio era (examining both top-rank and
low-end independent film production), before it moves to
the 1950s and 1960s (discussing the adoption of independent
filmmaking as the main method of studio production and
exploring its relationship to exploitation filmmaking) and the
1970s (focusing on how independent film production was
organised in the years of the Hollywood Renaissance and under
the increased conglomeration of the American film industry).
The book finishes with a detailed examination of contemporary
American independent cinema (exploring such areas as the rise
of the mini-majors and the studios specialty film divisions, the
institutionalisation of independent cinema in the 1990s and its
on-going transformation under the impact of media convergence
and digital technology). Each chapter includes case studies which
focus on specific films, filmmakers and companies.
Thoroughly updated to include developments from the mid-
2000s onwards, this second edition includes new case studies,
a new chapter analysing recent industrial, institutional and
technological changes that have transformed the sector, a new
prologue, a new epilogue that explores American independent
cinema s relationship to television and an enhanced bibliography.
|
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| title_full | American independent cinema an introduction Yannis Tzioumakis |
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