By Geoff King
A significant other to American Indie movie features a entire selection of newly commissioned essays that signify a state of the art source for knowing key facets of the sphere of indie movies produced within the United States.
- Takes a entire and clean new examine the subject of yankee indie film
- Features newly commissioned essays from most sensible movie specialists and rising students that signify the state of the art connection with the indie movie field
- Topics lined comprise: indie movie tradition; key historic moments and pursuits in indie movie heritage; relationships among indie movie and different indie media; and matters together with classification, gender, neighborhood identification and stardom in within the indie field
- Includes experiences of many sorts of indie movies and movie genres, in addition to a number of filmmakers and performers that experience come to outline the field
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Extra info for A companion to American indie film
Indie: An American Film Culture. New York: Columbia University Press. Perren, Alisa. 2013. ” In American Independent Cinema: Indie, Indiewood and Beyond, edited by Geoff King, Claire Molloy, and Yannis Tzioumakis, 108–120. London: Routledge. Shiner, Larry. 2001. The Invention of Art: A Cultural History. Chicago: University of Chicago Press. Tzioumakis, Yannis. ” In American Independent Cinema: Indie, Indiewood and Beyond, edited by Geoff King, Claire Molloy, and Yannis Tzioumakis, 26–38. London: Routledge.
In a similar vein, she lambastes the trend of “indie crossover” marketing using indie appeals in campaigns for retail brands such as American Apparel and Scion automobiles. Her most acid contempt is reserved for Urban Outfitters, a chain of stores catering to the young accused of tricking impressionable consumers into believing that its products are indie, though they are merely in her telling a deceptive simulation of that. The crossover she decries is one in which indie, like punk and other subcultures before it, “has been branded by corporate culture and repackaged as an aesthetic” (Oakes 2009, 194–195).
Whether knowledge and competence is seen as cultural or subcultural, authentic forms are recognized by those with the requisite capital, possession of which is the only real requirement for membership in the community. Implicit in this scheme is the failure of outsiders, in this case Hollywood movies and their audiences, to qualify. Their cultural competence is inadequate. As I have drawn the picture of indie cinema’s most central values, there is a clear contradiction and tension at the heart of this cultural formation.
A companion to American indie film by Geoff King