Introduction: You can count on me (2000) : living in dependence / Jesse Fox Mayshark. All the real girls (2003) : indie love / Claire Perkins -- Bubble (2005) : the network society / Radha O'Meara -- Buffalo '66 (1998) : the radical conventionality of an indie happy ending / James MacDowell -- The exploding girl (2009) : the everyday and the occluded gaze / Laura Rascaroli -- Frozen river (2008 ): mobility and uncertain boundaries / Mark Berrettini -- Jesus' son (1999) : 'I knew every raindrop by its name' / Constantine Verevis -- Keane (2004) : cold comfort camera / Jaime Christley -- Kicking and screaming (1995) : the significance of slightness / Chad R. Newsom -- Laurel Canyon (2002) : lacuscular cinema / Jodi Brooks -- Living in oblivion (1995) : how mistaking Chad for Brad could not overcome the commercial limitations of the self-reflexive cycle / John Berra -- Lovely & amazing (2001) : naked chick flick / Linda Badley -- Old joy (2006) : resisting masculinity / E. Dawn Hall -- Pariah (2011) : coming out in the middle / Patricia White -- Primer (2004) : a primer in first-time indie filmmaking / Geoff King -- Rachel getting married (2008) : personal cinema and the smart-chick film / Hilary Radner -- Secretary (2002) : purple rose, indie masochism, bruised romance / Elena Gorfinkel -- Waitress (2007) : tragedy and authorship in an indie 'meta-movie' / Steven Rawle -- The weight of water (2000) : a spectacular, if transformative failure / R. Barton Palmer -- Winter's bone (2010) : modest deals and film adaptation / Noel King -- You can count on me (2000) : living in dependence / Jesse Fox Mayshark.
Summary:
"Looking beyond the directors and works that have branded indie discourse in the 1990s and 2000s, US Independent Film After 1989: Possible Films attends to a group of 20 texts that have not been so fully subsumed by existing critical and promotional rhetoric. Through individual studies of films including All the Real Girls, The Exploding Girl, Laurel Canyon, Jesus' Son, Old Joy, Primer and You Can Count on Me, leading cinema scholars consider how notions of indie practice, poetics and politics can be opened up to account for a larger body of work than the dominant canon admits. With particular attention to female directors, this innovative and comprehensive book explores the central tenets of indie scholarship while simultaneously emphasising the classifying processes that can limit it."--Back cover.
This resource is supported by the Institute of Museum and Library Services under the provisions of the Library Services and Technology Act as administered by State Library of Iowa.