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Full Description
In 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 Filmmaking 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.
Contents
ContentsAcknowledgments Introduction: Possible FilmsClaire Perkins and Constantine Verevis 1. All the Real Girls (2003): Indie love; Claire Perkins2. Bubble (2005): The network society; Radha O'Meara3. Buffalo '66 (1998): The radical conventionality of an indie happy ending; James MacDowell 4. The Exploding Girl (2009): The everyday and the occluded gaze; Laura Rascaroli5. Frozen River (2008): Mobility and uncertain boundaries; Mark Berrettini6. Jesus' Son (1999): 'I knew every raindrop by its name'; Constantine Verevis7. Keane (2004): Cold comfort camera; Jaime Christley8. Kicking and Screaming (1995): The significance of slightness; Chad R. Newsom9. Laurel Canyon (2002): Lacuscular cinema ; Jodi Brooks10. Living in Oblivion (1995): How mistaking Chad for Brad could not overcome the commercial limitations of the self-reflexive cycle; John Berra11. Lovely & Amazing (2001): Naked chick flick; Linda Badley12. Old Joy (2006): Resisting masculinity; E. Dawn Hall13. Pariah (2011): Coming out in the middle ; Patricia White14. Primer (2004): A primer in first-time indie filmmaking; Geoff King15. Rachel Getting Married (2008): Personal cinema and the smart-chick film; Hilary Radner16. Secretary (2002): Purple pose, indie masochism, bruised romance; Elena Gorfinkel 17. Waitress (2007): Tragedy and authorship in an indie 'meta-movie'; Steven Rawle18. The Weight of Water (2000): A spectacular, if transformative failure; R. Barton Palmer19. Winter's Bone (2010): Modest deals and film adaptation; Noel King20. You Can Count On Me (2000): Living in dependence; Jesse Fox MaysharkContributors
