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Full Description
This book explores the role that talent intermediaries, including talent agents, talent managers and producers, play in packaging, marketing and selling screen media products, services and brands by constructing and positioning their clients and collaborators as indie-auteurs. Exploring several case-studies across a range of screen media during an era of media convergence, including American indie cinema, high-end television, music video, advertising and branded content, the book explores the strategies that talent intermediaries adopt and the industrial, cultural and social connotations and hierarchies that indie-auteurism as a promotional discourse and tool carries and reinforces. As a result, the book stakes out new ground that complicates popular ideas of indie-auteurs as highly autonomous and innovative filmmakers by exploring how this authorial discourse migrates between media and is constructed and reconfigured in relation to changing industrial and cultural contexts.
Contents
Acknowledgements
Introduction
Chapter 1. Producing with Indie-Auteurs: The Coen Brothers and an indie periodisation
Chapter 2. Managing Indie-Auteurs in an Era of Media Convergence: Steve Golin, Propaganda Films and Anonymous Content
Chapter 3. Propaganda/Films: The indie-auteur and the legitimation of short-form production
Chapter 4. Packaging Indie-Auteur Television: The single-director model, cinematization and the pursuit of legitimacy
Chapter 5. Navigating Specialty Film's Decline and Disruption: Specialty film, studio blockbusters, and the maverick male myth
Chapter 6. Black Agents and Agency: Charles D. King, Macro and the talent management of Black indie-auteurs
Conclusion: The Migration of indie-auteurism and new directions
