US Independent Film After 1989: Possible Films
A study of US independent films marginalized in and by the rise of 'indie' cultureIn contemporary film and popular culture the terms 'independent' and 'indie' hold instant recognition and considerable cultural cachet. As both a brand of American filmmaking and a keynote...
Gespeichert in:
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| Format: | Elektronisch E-Book |
| Sprache: | English |
| Veröffentlicht: |
Edinburgh
Edinburgh University Press
[2022]
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| Online-Zugang: | DE-1046 DE-1043 DE-858 DE-859 DE-860 DE-739 DE-473 URL des Erstveröffentlichers |
| Zusammenfassung: | A study of US independent films marginalized in and by the rise of 'indie' cultureIn contemporary film and popular culture the terms 'independent' and 'indie' hold instant recognition and considerable cultural cachet. As both a brand of American filmmaking and a keynote of critical film discourse, indie denotes specific textual, industrial and reception practices that have been enthusiastically cultivated across the last decade of the twentieth century and the first of the twenty-first. Underpinning this cultural category is a canon of highly visible films and filmmakers whose 'maverick' personas and self-aware stylisation have successfully sold indie as a quality, alternative worldview-figures like Quentin Tarantino, Joel and Ethan Coen, Kevin Smith and Wes Anderson, and films like Slacker, Memento, Happiness and Juno. US Independent Film After 1989: Possible Films reframes this dominant indie canon by attending to a group of films that have not been so fully subsumed by its critical and promotional rhetoric. In 20 close analyses, a diverse range of leading film scholars and commentators allow the contours of the indie sensibility to emerge in and through their individual experiences of a single film that has not received the sustained critical acclaim of more popular titles. With particular representation from female directors-who are almost wholly excluded from the dominant indie canon-these idiosyncratic films are shown to demonstrate central tenets of indie scholarship and simultaneously emphasise the classifying processes that obscure them. Key Features:Provides 20 textual studies of under-evaluated US indie filmDevelops an expanded understanding of US indie film cultureIdentifies the contribution of a community of US indie filmmakers and actors, with a particular emphasis on women practitioners |
| Beschreibung: | Description based on online resource; title from PDF title page (publisher's Web site, viewed 02. Mrz 2022) |
| Beschreibung: | 1 Online-Ressource (240 pages) 20 B/W illustrations |
| ISBN: | 9780748692453 |
| DOI: | 10.1515/9780748692453 |
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| 520 | |a A study of US independent films marginalized in and by the rise of 'indie' cultureIn contemporary film and popular culture the terms 'independent' and 'indie' hold instant recognition and considerable cultural cachet. As both a brand of American filmmaking and a keynote of critical film discourse, indie denotes specific textual, industrial and reception practices that have been enthusiastically cultivated across the last decade of the twentieth century and the first of the twenty-first. Underpinning this cultural category is a canon of highly visible films and filmmakers whose 'maverick' personas and self-aware stylisation have successfully sold indie as a quality, alternative worldview-figures like Quentin Tarantino, Joel and Ethan Coen, Kevin Smith and Wes Anderson, and films like Slacker, Memento, Happiness and Juno. US Independent Film After 1989: Possible Films reframes this dominant indie canon by attending to a group of films that have not been so fully subsumed by its critical and promotional rhetoric. In 20 close analyses, a diverse range of leading film scholars and commentators allow the contours of the indie sensibility to emerge in and through their individual experiences of a single film that has not received the sustained critical acclaim of more popular titles. With particular representation from female directors-who are almost wholly excluded from the dominant indie canon-these idiosyncratic films are shown to demonstrate central tenets of indie scholarship and simultaneously emphasise the classifying processes that obscure them. Key Features:Provides 20 textual studies of under-evaluated US indie filmDevelops an expanded understanding of US indie film cultureIdentifies the contribution of a community of US indie filmmakers and actors, with a particular emphasis on women practitioners | ||
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| illustrated | Illustrated |
| index_date | 2024-07-03T19:19:57Z |
| indexdate | 2025-02-19T17:33:38Z |
| institution | BVB |
| isbn | 9780748692453 |
| language | English |
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| publisher | Edinburgh University Press |
| record_format | marc |
| spelling | Perkins, Claire Verfasser aut US Independent Film After 1989 Possible Films Claire Perkins, Constantine Verevis Edinburgh Edinburgh University Press [2022] © 2015 1 Online-Ressource (240 pages) 20 B/W illustrations txt rdacontent c rdamedia cr rdacarrier Description based on online resource; title from PDF title page (publisher's Web site, viewed 02. Mrz 2022) A study of US independent films marginalized in and by the rise of 'indie' cultureIn contemporary film and popular culture the terms 'independent' and 'indie' hold instant recognition and considerable cultural cachet. As both a brand of American filmmaking and a keynote of critical film discourse, indie denotes specific textual, industrial and reception practices that have been enthusiastically cultivated across the last decade of the twentieth century and the first of the twenty-first. Underpinning this cultural category is a canon of highly visible films and filmmakers whose 'maverick' personas and self-aware stylisation have successfully sold indie as a quality, alternative worldview-figures like Quentin Tarantino, Joel and Ethan Coen, Kevin Smith and Wes Anderson, and films like Slacker, Memento, Happiness and Juno. US Independent Film After 1989: Possible Films reframes this dominant indie canon by attending to a group of films that have not been so fully subsumed by its critical and promotional rhetoric. In 20 close analyses, a diverse range of leading film scholars and commentators allow the contours of the indie sensibility to emerge in and through their individual experiences of a single film that has not received the sustained critical acclaim of more popular titles. With particular representation from female directors-who are almost wholly excluded from the dominant indie canon-these idiosyncratic films are shown to demonstrate central tenets of indie scholarship and simultaneously emphasise the classifying processes that obscure them. Key Features:Provides 20 textual studies of under-evaluated US indie filmDevelops an expanded understanding of US indie film cultureIdentifies the contribution of a community of US indie filmmakers and actors, with a particular emphasis on women practitioners In English Film, Media & Cultural Studies PERFORMING ARTS / Film & Video / General bisacsh Independent filmmakers United States Independent films United States History and criticism Motion picture industry United States History 20th century Motion pictures United States Plots, themes, etc Badley, Linda Sonstige oth Berra, John Sonstige oth Berrettini, Mark Sonstige oth Brooks, Jodi Sonstige oth Christley, Jaime Sonstige oth Gorfinkel, Elena Sonstige oth Hall, E. Dawn Sonstige oth King, Geoff Sonstige oth King, Noel Sonstige oth MacDowell, James Sonstige oth Mayshark, Jesse Fox Sonstige oth Newsom, Chad R. Sonstige oth O'Meara, Radha Sonstige oth Palmer, R. Barton Sonstige oth Perkins, Claire Sonstige oth Radner, Hilary Sonstige oth Rascaroli, Laura Sonstige oth Rawle, Steven Sonstige oth Verevis, Constantine Sonstige oth White, PatriciaXX4ctbXX4https://id.loc.gov/vocabulary/relators/ctb Sonstige oth https://doi.org/10.1515/9780748692453 Verlag URL des Erstveröffentlichers Volltext |
| spellingShingle | Perkins, Claire US Independent Film After 1989 Possible Films Film, Media & Cultural Studies PERFORMING ARTS / Film & Video / General bisacsh Independent filmmakers United States Independent films United States History and criticism Motion picture industry United States History 20th century Motion pictures United States Plots, themes, etc |
| title | US Independent Film After 1989 Possible Films |
| title_auth | US Independent Film After 1989 Possible Films |
| title_exact_search | US Independent Film After 1989 Possible Films |
| title_exact_search_txtP | US Independent Film After 1989 Possible Films |
| title_full | US Independent Film After 1989 Possible Films Claire Perkins, Constantine Verevis |
| title_fullStr | US Independent Film After 1989 Possible Films Claire Perkins, Constantine Verevis |
| title_full_unstemmed | US Independent Film After 1989 Possible Films Claire Perkins, Constantine Verevis |
| title_short | US Independent Film After 1989 |
| title_sort | us independent film after 1989 possible films |
| title_sub | Possible Films |
| topic | Film, Media & Cultural Studies PERFORMING ARTS / Film & Video / General bisacsh Independent filmmakers United States Independent films United States History and criticism Motion picture industry United States History 20th century Motion pictures United States Plots, themes, etc |
| topic_facet | Film, Media & Cultural Studies PERFORMING ARTS / Film & Video / General Independent filmmakers United States Independent films United States History and criticism Motion picture industry United States History 20th century Motion pictures United States Plots, themes, etc |
| url | https://doi.org/10.1515/9780748692453 |
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