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| 003 | OCoLC | ||
| 005 | 20220712052159.0 | ||
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_a791.43073 _223 |
| 049 | _aMAIN | ||
| 245 | 0 | 0 |
_aIndie reframed : _bwomen's filmmaking and contemporary American independent cinema / _cedited by Linda Badley, Claire Perkins and Michele Schreiber. |
| 264 | 1 |
_aEdinburgh : _bEdinburgh University Press, _c[2016] |
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| 264 | 4 | _c©2016 | |
| 300 |
_a1 online resource (xiv, 329 pages) : _billustrations |
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| 336 |
_atext _btxt _2rdacontent |
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| 337 |
_acomputer _bc _2rdamedia |
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_aonline resource _bcr _2rdacarrier |
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| 490 | 1 | _aTraditions in American cinema | |
| 504 | _aIncludes bibliographical references and index. | ||
| 505 | 0 | 0 |
_gpt. I _tPRODUCTION AND DISTRIBUTION CONTEXTS -- _g1. _tWomen Make Movies: Chicken & Egg Pictures, Gamechanger Films and the Future of Female Independent Filmmaking / _rSarah E.S. Sinwell -- _g2. _tKiller Feminism / _rPatricia White -- _g3. _t`A Woman with an Endgame': Megan Ellison, Annapurna Pictures and American Independent Film Production / _rJames Lyons -- _g4. _tSusan Seidelman's Contemporary Films: The Feminist Art of Self-reinvention in a Changing Technological Landscape / _rChristina Lane -- _g5. _t`I'm Absolutely the Right Person for this Job': Allison Anders and Mary Harron on Lifetime Television / _rMichele Schreiber -- _gpt. II _tGENRES AND MODALITIES -- _g6. _tGender, Genre and More General Indie Dimensions in Megan Griffiths' The Off Hours and Eden / _rGeoff King -- _g7. _tDown to the Bone: Neo-neorealism and Genre in Contemporary Women's Indies / _rLinda Badley -- _g8. _tMy Effortless Brilliance: Women's Mumblecore / _rClaire Perkins -- _g9. _tBlack Women, Romance and the Indiewood Rom Coms of Sanaa Hamri / _rShelley Cobb -- _gpt. III _tIDENTITIES -- _g10. _tFrom Documentary to Fictional Realism: Mira Nair's Documentary Roots, Fictional Home and Production Politics / _rKent A. Ono -- _g11. _tHaving its Cake and Eating it Too: Contemporary American `Indie' Cinema and My Big Fat Greek Wedding Reframed / _rLydia Papadimitriou -- _g12. _tNot Just Indie: A Look at Films by Dee Rees, Ava DuVernay and Kasi Lemmons / _rCynthia Baron -- _g13. _tSexual In-betweener/Industry In-betweener: The Career and Films of Lisa Cholodenko / _rMaria San Filippo -- _g14. _tMiranda July and the New Twenty-first-century Indie / _rKathleen A. McHugh -- _gpt. IV _tCOLLABORATIONS -- _g15. _tMutual Muses in American Independent Film: Catherine Keener and Nicole Holofcener, Michelle Williams and Kelly Reichardt / _rChris Holmlund -- _g16. _tThe Feminist Politics of Collaboration in Lena Dunham's Tiny Furniture / _rCorinn Columpar -- _g17. _tThe Director as Facilitator: Collaboration, Cooperation and the Gender Politics of the Set / _rJohn Alberti -- _g18. _tBeyond the Screen: On Contemporary Feminist Media Re-articulations / _rPatricia R. Zimmermann. |
| 588 | 0 | _aPrint version record. | |
| 520 | _aExplores the films, practitioners, production and distribution contexts that currently represent American women's independent cinemaWith the consolidation of ÃǾ²Ơ℗indie' culture in the 21st 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 ÃǾ²Ơ℗₋maverick' white male auteurs such as Quentin Tarantino or Wes Anderson as the face of indie discourse. Defying the formulaic myths of the mainstream ÃǾ²Ơ℗₋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 pre-existing categories. This ground-breaking collection, the first sustained examination of the work of female practitioners within American independent cinema, reclaims the ÃǾ²Ơ℗₋difference' of female indie filmmaking. Through a variety of case studies of directors, writers and producers such as Ava DuVernay, Lena Dunham and Christine Vachon, 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 ÃǾ²Ơ℗₋in-between' space in which the narratives they represent and embody can be revealed. Key Features Covers American women's independent cinema since the late 1970s Analyses the work of acclaimed but critically overlooked female practitioners such as Kelly Reichardt, Christine Vachon, Miranda July, Kasi Lemmons, Nicole Holofcener, Mira Nair, Lisa Cholodenko, Megan Ellison, Lynn Shelton, Ava DuVernay, Mary Harron and Debra Granik Distinguishes four different approaches to analysing women's independent cinema through: production and industry perspectives; genre and other classificatory modalities; political, cultural, social and professional identities; and collaborative and collectivist practices Contributors John Alberti, Northern Kentucky University Linda Badley, Middle Tennessee State University Cynthia Baron, Bowling Green State University Shelley Cobb, University of Southampton Corinn Columpar, University of Toronto Chris Holmlund, University of Tennessee-Knoxville Geoff King, Brunel University, London Christina Lane, University of Miami James Lyons, University of Exeter Kathleen A. McHugh, UCLA Kent A. Ono, University of Utah Lydia Papadimitriou, Liverpool John Moores University Claudia Costa Pederson, Wichita State University Claire Perkins, Monash University Sarah Projansky, University of Utah Maria San Filippo, Goucher College Michele Schreiber, Emory University Sarah E.S. Sinwell, University of Utah Yannis Tzioumakis, University of Liverpool Patricia White, Swarthmore College Patricia R. Zimmermann, Ithaca College Explores the films, practitioners, production and distribution contexts that currently represent American women's independent cinemaWith the consolidation of ÃǾ²Ơ℗₋indie' culture in the 21st 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 ÃǾ²Ơ℗₋maverick' white male auteurs such as Quentin Tarantino or Wes Anderson as the face of indie discourse. Defying the formulaic myths of the mainstream ÃǾ²Ơ℗₋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 pre-existing categories. This ground-breaking collection, the first sustained examination of the work of female practitioners within American independent cinema, reclaims the ÃǾ²Ơ℗₋difference' of female indie filmmaking. Through a variety of case studies of directors, writers and producers such as Ava DuVernay, Lena Dunham and Christine Vachon, 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 ÃǾ²Ơ℗₋in-between' space in which the narratives they represent and embody can be revealed. Key Features Covers American women's independent cinema since the late 1970s Analyses the work of acclaimed but critically overlooked female practitioners such as Kelly Reichardt, Christine Vachon, Miranda July, Kasi Lemmons, Nicole Holofcener, Mira Nair, Lisa Cholodenko, Megan Ellison, Lynn Shelton, Ava DuVernay, Mary Harron and Debra Granik Distinguishes four different approaches to analysing women's independent cinema through: production and industry perspectives; genre and other classificatory modalities; political, cultural, social and professional identities; and collaborative and collectivist practices Contributors John Alberti, Northern Kentucky University Linda Badley, Middle Tennessee State University Cynthia Baron, Bowling Green State University Shelley Cobb, University of Southampton Corinn Columpar, University of Toronto Chris Holmlund, University of Tennessee-Knoxville Geoff King, Brunel University, London Christina Lane, University of Miami James Lyons, University of Exeter Kathleen A. McHugh, UCLA Kent A. Ono, University of Utah Lydia Papadimitriou, Liverpool John Moores University Claudia Costa Pederson, Wichita State University Claire Perkins, Monash University Sarah Projansky, University of Utah Maria San Filippo, Goucher College Michele Schreiber, Emory University Sarah E.S. Sinwell, University of Utah Yannis Tzioumakis, University of Liverpool Patricia White, Swarthmore College Patricia R. Zimmermann, Ithaca College | ||
| 590 |
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| 650 | 0 |
_aIndependent films _zUnited States _xHistory and criticism. _9216747 |
|
| 650 | 0 |
_aWomen motion picture producers and directors _zUnited States. _987303 |
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| 650 | 0 |
_aMotion picture industry _zUnited States _xHistory _y20th century. _987805 |
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| 650 | 0 |
_aMotion picture industry _zUnited States _xHistory _y21st century. _91126163 |
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| 650 | 6 |
_aFilms indépendants _zÉtats-Unis _xHistoire et critique. _9877165 |
|
| 650 | 6 |
_aProductrices et réalisatrices de cinéma _zÉtats-Unis. _91053051 |
|
| 650 | 7 |
_aPERFORMING ARTS _xFilm & Video _xReference. _2bisacsh |
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| 650 | 7 |
_aIndependent films. _2fast _0(OCoLC)fst01738681 _9295801 |
|
| 650 | 7 |
_aMotion picture industry. _2fast _0(OCoLC)fst01027150 _926917 |
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| 650 | 7 |
_aWomen motion picture producers and directors. _2fast _0(OCoLC)fst01178163 _9337994 |
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| 651 | 7 |
_aUnited States. _2fast _0(OCoLC)fst01204155 |
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| 648 | 7 |
_a1900-2099 _2fast _952653 |
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| 655 | 0 | _aElectronic books. | |
| 655 | 4 | _aElectronic books. | |
| 655 | 7 |
_aCriticism, interpretation, etc. _2fast _0(OCoLC)fst01411635 |
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| 655 | 7 |
_aHistory. _2fast _0(OCoLC)fst01411628 |
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| 700 | 1 |
_aBadley, Linda, _eeditor. _9167746 |
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| 700 | 1 |
_aPerkins, Claire _q(Claire Elizabeth), _eeditor. _9925076 |
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| 700 | 1 |
_aSchreiber, Michele, _eeditor. _91009745 |
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_iPrint version: _tIndie reframed. _dEdinburgh : Edinburgh University Press, [2016] _z9781474403948 _w(OCoLC)962321354 |
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_aTraditions in American cinema. _91009748 |
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