Description
Book SynopsisOffers a study of US independent films marginalised in and by the rise of 'indie' culture. This book develops an expanded understanding of US 'indie' film culture. It also identifies the contribution of a community of US 'indie' filmmakers and actors, with a particular emphasis on women practitioners.
Table of ContentsContents; Acknowledgments; Introduction: Possible Films; Claire Perkins and Constantine Verevis; 1. All the Real Girls (2003): Indie Iove; Claire Perkins; 2. Bubble (2005): The network society; Radha O'Meara; 3. 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 Rascaroli; 5. Frozen River (2008): Mobility and uncertain boundaries; Mark Berrettini; 6. Jesus' Son (1999): 'I knew every raindrop by its name'; Constantine Verevis; 7. Keane (2004): Cold comfort camera; Jaime Christley; 8. Kicking and Screaming (1995): The significance of slightness; Chad R. Newsom; 9. Laurel Canyon (2002): Lacuscular cinema; Jodi Brooks; 10. Living in Oblivion (1995): How mistaking Chad for Brad could not overcome the commercial limitations of the self reflexive cycle; John Berra; 11. Lovely & Amazing (2001): Naked chick flick; Linda Badley; 12. Old Joy (2006): Resisting masculinity; E. Dawn Hall; 13. Pariah (2011): Coming out in the middle; Patricia White; 14. Primer (2004): A primer in first time indie filmmaking; Geoff King; 15. Rachel Getting Married (2008): Personal cinema and the smart chick film; Hilary Radner; 16. Secretary (2002): Purple pose, indie masochism, bruised romance; Elena Gorfinkel; 17. Waitress (2007): Tragedy and authorship in an indie 'meta movie'; Steven Rawle; 18. The Weight of Water (2000): A spectacular, if transformative failure; R. Barton Palmer; 19. Winter's Bone (2010): Modest deals and film adaptation; Noel King; 20. You Can Count On Me (2000): Living in dependence; Jesse Fox Mayshark; Contributors.
