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US Independent Film After 1989 Possible Films

Perkins Claire Verevis Constantine
Innbundet / 2015 / Engelsk

Produktdetaljer

ISBN
9780748692446
Publisert
2015-02-27
Utgiver
Edinburgh University Press
Vekt
495 gr
Høyde
234 mm
Bredde
156 mm
Aldersnivå
UU, UP, 05
Språk
Product language
Engelsk
Format
Product format
Innbundet

Redaktør
Perkins Claire
Verevis Constantine

Biografisk notat

Claire Perkins is Senior Lecturer in Film and Screen Studies at Monash University, Melbourne. She is the author of American Smart Cinema (Edinburgh University Press, 2012) and co-editor of U.S Independent Film After 1989: Possible Films (Edinburgh University Press, 2015), B Is for Bad Cinema: Aesthetics, Politics and Cultural Value (2014) and Film Trilogies: New Critical Approaches (2012). Constantine Verevis is Associate Professor in Film and Screen Studies at Monash University, Melbourne. His publications include: Film Remakes (Edinburgh UP, 2006), Transnational Film Remakes (Edinburgh UP, 2017), Film Reboots (Edinburgh UP, 2020), and Flaming Creatures (2020). With Claire Perkins, he is founding co-editor of Screen Serialities (Edinburgh UP).

US Independent Film After 1989 Possible Films

Perkins Claire Verevis Constantine
Innbundet / 2015 / Engelsk
Perkins Claire Verevis Constantine
Innbundet / 2015 / Engelsk
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A stimulating new collection of essays that enriches greatly the constantly expanding literature on American independent cinema. Perkins and Verevis have gathered an impressive group of contributors whose thought-provoking discussion of often forgotten, though still important, films challenges existing canons while opening up new and exciting paths in American independent film research, which future studies are bound to follow. Highly recommended!

- Yannis Tzioumakis, University of Liverpool,

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.
Les mer
In 20 close studies of single films, leading figures in cinema studies consider how received notions of indie style, politics, and practitioners can be questioned, and in this way account for a larger body of work than the dominant canon reflects.
Les mer
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
Les mer
Provides 20 textual studies of under-evaluated US indie films

Relaterte produkter

A stimulating new collection of essays that enriches greatly the constantly expanding literature on American independent cinema. Perkins and Verevis have gathered an impressive group of contributors whose thought-provoking discussion of often forgotten, though still important, films challenges existing canons while opening up new and exciting paths in American independent film research, which future studies are bound to follow. Highly recommended!

- Yannis Tzioumakis, University of Liverpool,

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.
Les mer
In 20 close studies of single films, leading figures in cinema studies consider how received notions of indie style, politics, and practitioners can be questioned, and in this way account for a larger body of work than the dominant canon reflects.
Les mer
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
Les mer
Provides 20 textual studies of under-evaluated US indie films

Produktdetaljer

ISBN
9780748692446
Publisert
2015-02-27
Utgiver
Edinburgh University Press
Vekt
495 gr
Høyde
234 mm
Bredde
156 mm
Aldersnivå
UU, UP, 05
Språk
Product language
Engelsk
Format
Product format
Innbundet

Redaktør
Perkins Claire
Verevis Constantine

Biografisk notat

Claire Perkins is Senior Lecturer in Film and Screen Studies at Monash University, Melbourne. She is the author of American Smart Cinema (Edinburgh University Press, 2012) and co-editor of U.S Independent Film After 1989: Possible Films (Edinburgh University Press, 2015), B Is for Bad Cinema: Aesthetics, Politics and Cultural Value (2014) and Film Trilogies: New Critical Approaches (2012). Constantine Verevis is Associate Professor in Film and Screen Studies at Monash University, Melbourne. His publications include: Film Remakes (Edinburgh UP, 2006), Transnational Film Remakes (Edinburgh UP, 2017), Film Reboots (Edinburgh UP, 2020), and Flaming Creatures (2020). With Claire Perkins, he is founding co-editor of Screen Serialities (Edinburgh UP).

Relaterte produkter