Indie Reframed: Women's Filmmaking and Contemporary American Independent Cinema
Indie Reframed: Women's Filmmaking and Contemporary American Independent Cinema
Cite
Abstract
With the consolidation of ‘indie’ culture in the twenty-first century, female filmmakers face an increasingly indifferent climate. Within this sector, women work across all aspects of writing, direction, production, editing and design, yet the dominant narrative continues to construe ‘maverick’ white male auteurs such as Quentin Tarantino or Wes Anderson as the face of indie discourse. Defying the formulaic myths of the mainstream ‘chick flick’ and the ideological and experimental radicalism of feminist counter-cinema alike, women’s indie filmmaking is neither ironic, popular nor political enough to be readily absorbed into any pre-existing categories. This collection – the first sustained examination of the work of female practitioners within American independent cinema – reclaims the ‘difference’ of female indie filmmaking. Through case studies of directors, writers and producers such as Ava DuVernay, Lena Dunham and Christine Vachon, the contributors explore the innovation of a range of female practitioners by attending to the sensibilities, ideologies and industrial practices that distinguish their work – while embracing the ‘in-between’ space in which the complex narratives they represent and embody can be revealed. The volume is organised into an introduction and four parts: ‘Production and Distribution Contexts’ (chapters 1-5), ‘Genres and Modalities’ (chapters 6-9), ‘Identities’ (chapters 10-14) and ‘Collaborations’ (chapters 15-18).
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Front Matter
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Introduction
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Part I Production and Distribution Contexts
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1.
Women Make Movies: Chicken & Egg Pictures, Gamechanger Films and the Future of Female Independent Filmmaking
Sarah E. S. Sinwell
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2.
Killer Feminism
Patricia White
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3.
‘A Woman with an Endgame’: Megan Ellison, Annapurna Pictures and American Independent Film Production
James Lyons
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4.
Susan Seidelman’s Contemporary Films: The Feminist Art of Self-reinvention in a Changing Technological Landscape
Christina Lane
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5.
‘I’m Absolutely the Right Person for this Job’: Allison Anders and Mary Harron on Lifetime Television
Michele Schreiber
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1.
Women Make Movies: Chicken & Egg Pictures, Gamechanger Films and the Future of Female Independent Filmmaking
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Part II Genres and Modalities
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6.
Gender, Genre and More General Indie Dimensions in Megan Griffiths’ The Off Hours and Eden
Geoff King
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7.
Down to the Bone: Neo-neorealism and Genre in Contemporary Women’s Indies
Linda Badley
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8.
My Effortless Brilliance: Women’s Mumblecore
Claire Perkins
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9.
Black Women, Romance and the Indiewood Rom Coms of Sanaa Hamri
Shelley Cobb
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6.
Gender, Genre and More General Indie Dimensions in Megan Griffiths’ The Off Hours and Eden
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Part III Identities
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10.
From Documentary to Fictional Realism: Mira Nair’s Documentary Roots, Fictional Home and Production Politics
Sarah Projansky andKent A. Ono
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11.
Having its Cake and Eating it Too: Contemporary American ‘Indie’ Cinema and My Big Fat Greek Wedding Reframed
Yannis Tzioumakis andLydia Papadimitriou
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12.
Not Just Indie: A Look at Films by Dee Rees, Ava DuVernay and Kasi Lemmons
Cynthia Baron
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13.
Sexual In-betweener/Industry In-betweener: The Career and Films of Lisa Cholodenko
Maria San Filippo
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14.
Miranda July and the New Twenty-first-century Indie
Kathleen A. McHugh
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10.
From Documentary to Fictional Realism: Mira Nair’s Documentary Roots, Fictional Home and Production Politics
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Part IV Collaborations
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15.
Mutual Muses in American Independent Film: Catherine Keener and Nicole Holofcener, Michelle Williams and Kelly Reichardt
Chris Holmlund
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16.
The Feminist Politics of Collaboration in Lena Dunham’s Tiny Furniture
Corinn Columpar
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17.
The Director as Facilitator: Collaboration, Cooperation and the Gender Politics of the Set
John Alberti
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18.
Beyond the Screen: On Contemporary Feminist Media Re-articulations
Claudia Costa Pederson andPatricia R. Zimmermann
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15.
Mutual Muses in American Independent Film: Catherine Keener and Nicole Holofcener, Michelle Williams and Kelly Reichardt
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End Matter
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