000			03978nam a22005895i 4500
001			196639
003			IT-RoAPU
005			20221214232933.0
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008			220629t20222012stk fo d z eng d
020			_a9780748640126 _qprint
020			_a9780748649594 _qPDF
024	7		_a10.1515/9780748649594 _2doi
035			_a(DE-B1597)9780748649594
035			_a(DE-B1597)614414
035			_a(OCoLC)1302163801
040			_aDE-B1597 _beng _cDE-B1597 _erda
072		7	_aPER004000 _2bisacsh
082	0	4	_a791.430973 _223
084			_aonline - DeGruyter
100	1		_aTzioumakis, Yannis _eautore
245	1	0	_aHollywood's Indies : _bClassics Divisions, Specialty Labels and American Independent Cinema / _cYannis Tzioumakis.
264		1	_aEdinburgh : _bEdinburgh University Press, _c[2022]
264		4	_c©2012
300			_a1 online resource (240 p.) : _b9 B/W illustrations
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
347			_atext file _bPDF _2rda
505	0	0	_tFrontmatter -- _tContents -- _tAcknowledgements -- _tIntroduction -- _tSection I Independent -- _tSection II Indie -- _tSection III Indiewood -- _tIndex
506	0		_arestricted access _uhttp://purl.org/coar/access_right/c_16ec _fonline access with authorization _2star
520			_aFor almost three decades the big Hollywood studios have operated classics divisions or specialty labels, subsidiaries that originally focused on the foreign art house film market, while more recently (and controversially) moving on to the American 'indie' film market. This is the first book to offer an in depth examination of the phenomenon of the classics divisions by tracing its history since the establishment the first specialty label in 1980, United Artists Classics, to more contemporary outfits like Focus Features, Warner Independent and Picturehouse.This detailed account of all classics divisions examines their business practices, their position within the often labyrinthine structure of contemporary entertainment conglomerates and their relationship to their parent companies. Yannis Tzioumakis examines the impact of those companies on American 'indie' cinema and argues that it was companies such as Fox Searchlight and Paramount Classics (now Paramount Vantage) that turned independent filmmaking to an industrial category endorsed by the Hollywood majors as opposed to a mode of filmmaking practised outside the conglomerated major players and posed as a sustained alternative to mainstream Hollywood cinema. A number of case studies are provided, including such celebrated films as Mystery Train, The Brothers McMullen, Broken Flowers, Before Sunset and many others.
538			_aMode of access: Internet via World Wide Web.
546			_aIn English.
588	0		_aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 29. Jun 2022)
650		0	_aIndependent filmmakers _xHistory _x20th century _xUnited States.
650		0	_aIndependent filmmakers _xHistory _x21st century _xUnited States.
650		0	_aIndependent filmmakers _zUnited States _xHistory _y20th century.
650		0	_aIndependent filmmakers _zUnited States _xHistory _y21st century.
650		0	_aIndependent films _xHistory and criticism _xUnited States.
650		0	_aIndependent films _zUnited States _xHistory and criticism.
650		0	_aMotion picture industry _xHistory _x20th century _xUnited States.
650		0	_aMotion picture industry _zUnited States _xHistory _y20th century.
650		4	_aFilm, Media & Cultural Studies.
650		7	_aPERFORMING ARTS / Film & Video / General. _2bisacsh
850			_aIT-RoAPU
856	4	0	_uhttps://doi.org/10.1515/9780748649594
856	4	0	_uhttps://www.degruyter.com/isbn/9780748649594
856	4	2	_3Cover _uhttps://www.degruyter.com/document/cover/isbn/9780748649594/original
942			_cEB
999			_c196639 _d196639