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Full Description
Over her six-film career, including works like Old Joy, Meek's Cutoff and Certain Women, the independent filmmaker Kelly Reichardt has established a highly individual perspective on questions of gender, feminism, socioeconomics and sexual orientation, set within an aesthetic framework that is guided by the low-budget techniques of 'slow cinema', minimalism and neorealism. In this close reading of her films and production methods, E. Dawn Hall defines Reichardt's auteur characteristics, arguing that she offers a contemporary and sustainable model for independent filmmakers in America.
Contents
DedicationAcknowledgements
Kelly Reichardt as Auteur
A Closer Look: Kelly Reichardt
Precursor: River of GrassProductionA Female Centered Road MovieFeminist Counter-CinemaTaboo Topics: Post-Partum and Role ReversalsPowerless MenLiminal Existence
Growth: "Ode," "Then, A Year" and "Travis" "Ode" (1999) "Then, a Year" (2001) "Travis" (2004)
Discovery: Old Joy Production Complicating Masculinity Politics and Personal Identity Inserting the Feminine
Breakthrough:Wendy and Lucy ProductionNeo-Neorealism Gender and the Narrative of Homelessness Social Realism and the At-Risk vs. the Can-do Girl Ecofeminist Concerns
Expectations: Meek's Cutoff The Real Story of Meek Production SoundQuestions of Genre: Feminist WesternSlow Cinema and Neo-Neorealism"Politicking," Race, and Violence The Open Image in Slow Cinema
Expansion: Night Moves ProductionSound Denying ExpectationsPolitical ConnectionsHistorical Implications: OklahomaEarth Liberation Front (ELF)Maternity and Post FeminismA Character Study
Solidificaton: Certain WomenProductionAdaptation: Lost Characters and Open Endings
An Interview with Kelly Reichardt
Filmography
Bibliography
