Frontmatter -- Contents -- Acknowledgements -- Introduction: Possible Films -- Chapter 1 All the Real Girls (2003): Indie Love -- Chapter 2 Bubble (2005): The Network Society -- Chapter 3 Buffalo '66 (1998): The Radical Conventionality of an Indie Happy Ending -- Chapter 4 The Exploding Girl (2009): The Everyday and the Occluded Gaze -- Chapter 5 Frozen River (2008): Mobility and Uncertain Boundaries -- Chapter 6 Jesus' Son (1999): 'I Knew Every Raindrop by Its Name' -- Chapter 7 Keane (2004): Cold Comfort Camera -- Chapter 8 Kicking and Screaming (1995): The Significance of Slightness -- Chapter 9 Laurel Canyon (2002): Lacuscular Cinema -- Chapter 10 Living in Oblivion (1995): How Mistaking Chad for Brad Could Not Overcome the Commercial Limitations of the Self-Reflexive Cycle -- Chapter 11 Lovely & Amazing (2001): Naked Chick Flick -- Chapter 12 Old Joy (2006): Resisting Masculinity -- Chapter 13 Pariah (2011): Coming Out in the Middle -- Chapter 14 Primer (2004): A Primer in First-Time Indie Filmmaking -- Chapter 15 Rachel Getting Married (2008): Personal Cinema and the Smart-Chick Film -- Chapter 16 Secretary (2002): Purple Pose, Indie Masochism, Bruised Romance -- Chapter 17 Waitress (2007): Tragedy and Authorship in an Indie 'Meta-Movie' -- Chapter 18 The Weight of Water (2000): A Spectacular, if Transformative Failure -- Chapter 19 Winter's Bone (2010): Modest Deals and Film Adaptation -- Chapter 20 You Can Count on Me (2000): Living in Dependence -- Notes on Contributors -- Index

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http://purl.org/coar/access_right/c_16ec

A study of US independent films marginalized in and by the rise of 'indie' cultureIn 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 Film 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. Key Features:Provides 20 textual studies of under-evaluated US indie filmDevelops an expanded understanding of US indie film cultureIdentifies the contribution of a community of US indie filmmakers and actors, with a particular emphasis on women practitioners

Issued also in print.

Mode of access: Internet via World Wide Web.

In English.

Description based on online resource; title from PDF title page (publisher's Web site, viewed 02. Mrz 2022)