By Geoff King
A better half to American Indie movie features a accomplished selection of newly commissioned essays that characterize a cutting-edge source for figuring out key elements of the sphere of indie movies produced within the United States.
- Takes a finished and clean new examine the subject of yank indie film
- Features newly commissioned essays from best movie specialists and rising students that symbolize the state of the art connection with the indie movie field
- Topics coated comprise: indie movie tradition; key old moments and routine in indie movie heritage; relationships among indie movie and different indie media; and matters together with type, gender, local id and stardom in within the indie field
- Includes reports of many varieties of indie movies and movie genres, besides a variety of filmmakers and performers that experience come to outline the field
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Extra resources for A companion to American indie film
Indie Reframed: Women Filmmakers and Contemporary American Cinema. Edinburgh: Edinburgh University Press. Becker, Howard. 1982. Art Worlds. Berkeley: University of California Press. Introduction 21 Bourdieu, Pierre. 1993. ” In The Field of Cultural Production. Cambridge: Polity. Galt, Rosalind, and Karl Schoonover. 2010. ” In Global Art Cinema: New Theories and Histories, edited by Galt and Schoonover, 3–27. Oxford: Oxford University Press. King, Geoff. 2005. American Independent Cinema. B. Tauris.
Incorporation brings subcultural expression within the framework of meanings possible under the mainstream social order, and commodifies the symbolic challenges of the subculture. In Hebdige’s analysis, even if youth subcultures originate in protest and opposition to the mainstream society, they can become domesticated as fashion choices for sale to consumers, which trivializes them, defusing their subversive power. However, he also approaches the hard distinction subcultures often make between authentic and commodified expression with critical skepticism.
These texts are both expressions of indie sensibility and also didactic, programmatic assertions that prescribe norms of indie aesthetics and entrepreneurialism. Although they take different forms and celebrate different genres, Slanted and Enchanted and Indie Game share an investment in distinction that coalesces around the same cluster of ideals that animate indie cinema: autonomy, authenticity, and opposition. Of these texts, Slanted and Enchanted is more historically minded, eager to sketch a trajectory for indie culture that stretches back into a storied past, but that also has the potential to project past the moment of writing and publication, producing an enduring and sustaining tradition for the future.