Author: J.J. Murphy
Publisher:
ISBN:
Category : Performing Arts
Languages : en
Pages : 312
Book Description
Within the last twenty-five years, an enormous burst of creative production has emerged from independent filmmakers. From Stranger than Paradise (1984) and Slacker (1991) to Gus Van Sant's Elephant (2003) and Miranda July's Me and You and Everyone We Know (2005), indie cinema has become part of mainstream culture. But what makes these films independent? Is it simply a matter of budget and production values? Or are there aesthetic qualities that set them off from ordinary Hollywood entertainment? In this groundbreaking new study, J.J. Murphy argues that the independent feature film from the 1980s to the present has developed a distinct approach of its own, centering on new and different conceptions of cinematic storytelling. The film script is the heart of the creative originality to be found in the independent movement. Even directors noted for their idiosyncratic visual style or the handling of performers typically originate their material and write their own scripts. By studying the principles underlying the independent screenplay, we gain a direct sense of the originality of this new trend in American cinema. Me and You and Memento and Fargo also presents a unique vision for the aspiring screenwriter. Most screenwriting manuals and guidebooks on the market rely on formulas believed to generate saleable Hollywood films. Many writers present a "three-act paradigm" as gospel and proceed to lay down very stringent rules for characterization, plotting, timing of climaxes, and so on, while others who appear to be more open about such rules turn out to be just as inflexible in their advice. Through in-depth critical analyses of some of the most significant independent films of recent years, J.J. Murphy emphasizes the crucial role that novelty can play in the screenwriting process.
Rewriting Indie Cinema
Author: J. J. Murphy
Publisher: Columbia University Press
ISBN: 0231549598
Category : Performing Arts
Languages : en
Pages : 507
Book Description
Most films rely on a script developed in pre-production. Yet beginning in the 1950s and continuing through the recent mumblecore movement, key independent filmmakers have broken with the traditional screenplay. Instead, they have turned to new approaches to scripting that allow for more complex characterization and shift the emphasis from the page to performance. In Rewriting Indie Cinema, J. J. Murphy explores these alternative forms of scripting and how they have shaped American film from the 1950s to the present. He traces a strain of indie cinema that used improvisation and psychodrama, a therapeutic form of improvised acting based on a performer’s own life experiences. Murphy begins in the 1950s and 1960s with John Cassavetes, Shirley Clarke, Barbara Loden, Andy Warhol, Norman Mailer, William Greaves, and other independent directors who sought to create a new type of narrative cinema. In the twenty-first century, filmmakers such as Gus Van Sant, the Safdie brothers, Joe Swanberg, and Sean Baker developed similar strategies, sometimes benefitting from the freedom of digital technology. In reading key films and analyzing their techniques, Rewriting Indie Cinema demonstrates how divergence from the script has blurred the divide between fiction and nonfiction. Showing the ways in which filmmakers have striven to capture the subtleties of everyday behavior, Murphy provides a new history of American indie filmmaking and how it challenges Hollywood industrial practices.
Publisher: Columbia University Press
ISBN: 0231549598
Category : Performing Arts
Languages : en
Pages : 507
Book Description
Most films rely on a script developed in pre-production. Yet beginning in the 1950s and continuing through the recent mumblecore movement, key independent filmmakers have broken with the traditional screenplay. Instead, they have turned to new approaches to scripting that allow for more complex characterization and shift the emphasis from the page to performance. In Rewriting Indie Cinema, J. J. Murphy explores these alternative forms of scripting and how they have shaped American film from the 1950s to the present. He traces a strain of indie cinema that used improvisation and psychodrama, a therapeutic form of improvised acting based on a performer’s own life experiences. Murphy begins in the 1950s and 1960s with John Cassavetes, Shirley Clarke, Barbara Loden, Andy Warhol, Norman Mailer, William Greaves, and other independent directors who sought to create a new type of narrative cinema. In the twenty-first century, filmmakers such as Gus Van Sant, the Safdie brothers, Joe Swanberg, and Sean Baker developed similar strategies, sometimes benefitting from the freedom of digital technology. In reading key films and analyzing their techniques, Rewriting Indie Cinema demonstrates how divergence from the script has blurred the divide between fiction and nonfiction. Showing the ways in which filmmakers have striven to capture the subtleties of everyday behavior, Murphy provides a new history of American indie filmmaking and how it challenges Hollywood industrial practices.
The Multi-Protagonist Film
Author: María del Mar Azcona
Publisher: John Wiley & Sons
ISBN: 1444351907
Category : Performing Arts
Languages : en
Pages : 174
Book Description
The Multi-Protagonist Film is an insightful and provocative introduction to this important new genre. Explores the origins and history of one of the most exciting new developments in contemporary film worldwide Guides readers through the genre’s central characteristics and conventions, as well as it's evolution and cultural relevance Provides a theoretical framework that is developed through the analysis several films, including Grand Hotel, Singles, American Pie, Short Cuts, and Syriana. Reveals the duality of the genre's contemporary preoccupations: the impact of globalization on human lives versus the current state of intimate affairs, the crisis of marriage, and the proliferation of sexual choices
Publisher: John Wiley & Sons
ISBN: 1444351907
Category : Performing Arts
Languages : en
Pages : 174
Book Description
The Multi-Protagonist Film is an insightful and provocative introduction to this important new genre. Explores the origins and history of one of the most exciting new developments in contemporary film worldwide Guides readers through the genre’s central characteristics and conventions, as well as it's evolution and cultural relevance Provides a theoretical framework that is developed through the analysis several films, including Grand Hotel, Singles, American Pie, Short Cuts, and Syriana. Reveals the duality of the genre's contemporary preoccupations: the impact of globalization on human lives versus the current state of intimate affairs, the crisis of marriage, and the proliferation of sexual choices
Screening American Independent Film
Author: Justin Wyatt
Publisher: Taylor & Francis
ISBN: 1000872742
Category : Performing Arts
Languages : en
Pages : 564
Book Description
This indispensable collection offers 51 chapters, each focused on a distinct American independent film. Screening American Independent Film presents these films chronologically, addressing works from across more than a century (1915−2020), emphasizing the breadth and long duration of American independent cinema. The collection includes canonical examples as well as films that push against and expand the definitions of "independence." The titles run from micro-budget films through marketing-friendly Indiewood projects, from auteur-driven films and festival darlings to B-movies, genre pics, and exploitation films. The chapters also introduce students to different approaches within film studies including historical and contextual framing, industrial and institutional analysis, politics and ideology, genre and authorship, representation, film analysis, exhibition and reception, and technology. Written by leading international scholars and emerging talents in film studies, this volume is the first of its kind. Paying particular attention to issues of diversity and inclusion for both the participating scholars and the content and themes within the selected films, Screening American Independent Film is an essential resource for anyone teaching or studying American cinema.
Publisher: Taylor & Francis
ISBN: 1000872742
Category : Performing Arts
Languages : en
Pages : 564
Book Description
This indispensable collection offers 51 chapters, each focused on a distinct American independent film. Screening American Independent Film presents these films chronologically, addressing works from across more than a century (1915−2020), emphasizing the breadth and long duration of American independent cinema. The collection includes canonical examples as well as films that push against and expand the definitions of "independence." The titles run from micro-budget films through marketing-friendly Indiewood projects, from auteur-driven films and festival darlings to B-movies, genre pics, and exploitation films. The chapters also introduce students to different approaches within film studies including historical and contextual framing, industrial and institutional analysis, politics and ideology, genre and authorship, representation, film analysis, exhibition and reception, and technology. Written by leading international scholars and emerging talents in film studies, this volume is the first of its kind. Paying particular attention to issues of diversity and inclusion for both the participating scholars and the content and themes within the selected films, Screening American Independent Film is an essential resource for anyone teaching or studying American cinema.
Descriptive Adaptation Studies
Author: Patrick Cattrysse
Publisher: Maklu
ISBN: 904413129X
Category : Language Arts & Disciplines
Languages : en
Pages : 365
Book Description
It is common practice nowadays for adaptation critics to denounce the lack of meta-theoretical thinking in adaptation studies and to plead for a study of ‘adaptation-as-adaptation’; one that eschews value judgments, steps beyond normative fidelity-based discourse, examines adaptation from an intertextual perspective, and abandons the single-source model for a multiple-source model. This study looks into a research program that does all that and more. It was developed in the late 1980s and presented in the early 1990s as a ‘polysystem’ (PS) study of adaptations. Since then, the PS label has been replaced with ‘descriptive’. This book studies the question of whether and how a PS approach could evolve into a descriptive adaptation studies (DAS) approach. Although not perfect (no method is), DAS offers a number of assets. Apart from dealing with the above-mentioned issues, DAS transcends an Auteurist approach and looks at explanation beyond the level of individual agency (even if contextualized). As an alternative to the endless accumulation of ad hoc case studies, it suggests corpus-based research into wider trends of adaptational behavior and the roles and functions of sets of adaptations. DAS also allows reflection upon its own epistemic values. It sheds new light on some old issues: How can one define adaptation? What does it mean to study adaptation-as-adaptation? Is equivalence still possible and is the concept still relevant? DAS also tackles some deeper epistemological issues: How can phenomena be compared? Why would difference be more real than sameness or change more real than stasis? How does description relate to evaluation, explanation and prediction, etc.? This book addresses both theory-minded scholars who are interested in epistemological reflection and practice-oriented adaptation students who want to get started. From a theoretical point of view, it discusses arguments that could support the legitimacy of adaptation studies as an academic discipline. From a practical point of view, it explains in general terms ways of conducting an adaptation study. Patrick Cattrysse’s work is of utmost importance to Adaptation Studies. As the first extended attempt to develop a rigorous methodology which borrows in very meaningful ways from Adaptation Studies’ cousin Translation Studies, this book should be on every Adaptation scholar’s shelf. While Hutcheons, Sanders and Leitch, to name but a few, layed the groundwork which allowed Adaptation Studies to establish itself as a field of inquiry in its own right, Cattrysse moves the field into the next necessary stage: that of developing conceptual tools which stand the test of critical investigation and allow Adaptation Studies to move beyond the single case-study approach. (Katja Krebs - University of Bristol) This book is a bold initiative: it proposes, and illustrates, a comprehensive new empirical research programme for film adaptation studies, inspired by the way systems theory and norm theory have expanded Translation Studies. One of the book’s unusual strengths is the way the proposal is grounded in a thoughtful theoretical discussion of conceptual and methodological issues, dealing with such notions as theory, descriptivism, definition, diachrony and explanation. This gives the work a significance that ranges well beyond Adaptation Studies alone; it deserves the attention of scholars in the humanities in general. (Andrew Chesterman - University of Helsinki) This dense and theoretically-informed study argues forcefully for a descriptive systems analysis approach to literature/ film adaptation, building on the author’s earlier corpus-based study of film noir and adaptation. Providing a wide-ranging discussion of important critical questions (including the place of logical positivism in humanistic studies), this book will give adaptation scholars much to think about. Well-written, carefully organized, and consistently persuasive, DESCRIPTIVE ADAPTATION STUDIES promises to be an important intervention in a field of increasing importance in humanistic studies. Must reading for scholars in the field (R. Barton Palmer; Clemson University).
Publisher: Maklu
ISBN: 904413129X
Category : Language Arts & Disciplines
Languages : en
Pages : 365
Book Description
It is common practice nowadays for adaptation critics to denounce the lack of meta-theoretical thinking in adaptation studies and to plead for a study of ‘adaptation-as-adaptation’; one that eschews value judgments, steps beyond normative fidelity-based discourse, examines adaptation from an intertextual perspective, and abandons the single-source model for a multiple-source model. This study looks into a research program that does all that and more. It was developed in the late 1980s and presented in the early 1990s as a ‘polysystem’ (PS) study of adaptations. Since then, the PS label has been replaced with ‘descriptive’. This book studies the question of whether and how a PS approach could evolve into a descriptive adaptation studies (DAS) approach. Although not perfect (no method is), DAS offers a number of assets. Apart from dealing with the above-mentioned issues, DAS transcends an Auteurist approach and looks at explanation beyond the level of individual agency (even if contextualized). As an alternative to the endless accumulation of ad hoc case studies, it suggests corpus-based research into wider trends of adaptational behavior and the roles and functions of sets of adaptations. DAS also allows reflection upon its own epistemic values. It sheds new light on some old issues: How can one define adaptation? What does it mean to study adaptation-as-adaptation? Is equivalence still possible and is the concept still relevant? DAS also tackles some deeper epistemological issues: How can phenomena be compared? Why would difference be more real than sameness or change more real than stasis? How does description relate to evaluation, explanation and prediction, etc.? This book addresses both theory-minded scholars who are interested in epistemological reflection and practice-oriented adaptation students who want to get started. From a theoretical point of view, it discusses arguments that could support the legitimacy of adaptation studies as an academic discipline. From a practical point of view, it explains in general terms ways of conducting an adaptation study. Patrick Cattrysse’s work is of utmost importance to Adaptation Studies. As the first extended attempt to develop a rigorous methodology which borrows in very meaningful ways from Adaptation Studies’ cousin Translation Studies, this book should be on every Adaptation scholar’s shelf. While Hutcheons, Sanders and Leitch, to name but a few, layed the groundwork which allowed Adaptation Studies to establish itself as a field of inquiry in its own right, Cattrysse moves the field into the next necessary stage: that of developing conceptual tools which stand the test of critical investigation and allow Adaptation Studies to move beyond the single case-study approach. (Katja Krebs - University of Bristol) This book is a bold initiative: it proposes, and illustrates, a comprehensive new empirical research programme for film adaptation studies, inspired by the way systems theory and norm theory have expanded Translation Studies. One of the book’s unusual strengths is the way the proposal is grounded in a thoughtful theoretical discussion of conceptual and methodological issues, dealing with such notions as theory, descriptivism, definition, diachrony and explanation. This gives the work a significance that ranges well beyond Adaptation Studies alone; it deserves the attention of scholars in the humanities in general. (Andrew Chesterman - University of Helsinki) This dense and theoretically-informed study argues forcefully for a descriptive systems analysis approach to literature/ film adaptation, building on the author’s earlier corpus-based study of film noir and adaptation. Providing a wide-ranging discussion of important critical questions (including the place of logical positivism in humanistic studies), this book will give adaptation scholars much to think about. Well-written, carefully organized, and consistently persuasive, DESCRIPTIVE ADAPTATION STUDIES promises to be an important intervention in a field of increasing importance in humanistic studies. Must reading for scholars in the field (R. Barton Palmer; Clemson University).
Indie
Author: Michael Z. Newman
Publisher: Columbia University Press
ISBN: 0231513526
Category : Performing Arts
Languages : en
Pages : 421
Book Description
America's independent films often seem to defy classification. Their strategies of storytelling and representation range from raw, no-budget projects to more polished releases of Hollywood's "specialty" divisions. Yet understanding American indies involves more than just considering films. Filmmakers, distributors, exhibitors, festivals, critics, and audiences all shape the art's identity, which is always understood in relation to the Hollywood mainstream. By locating the American indie film in the historical context of the "Sundance-Miramax" era (the mid-1980s to the end of the 2000s), Michael Z. Newman considers indie cinema as an alternative American film culture. His work isolates patterns of character and realism, formal play, and oppositionality and the functions of the festivals, art houses, and critical media promoting them. He also accounts for the power of audiences to identify indie films in distinction to mainstream Hollywood and to seek socially emblematic characters and playful form in their narratives. Analyzing films such as Welcome to the Dollhouse (1996), Lost in Translation (2003), Pulp Fiction (1994), and Juno (2007), along with the work of Nicole Holofcener, Jim Jarmusch, John Sayles, Steven Soderbergh, and the Coen brothers, Newman investigates the conventions that cast indies as culturally legitimate works of art. He binds these diverse works together within a cluster of distinct viewing strategies and invites a reevaluation of the difference of independent cinema and its relationship to class and taste culture.
Publisher: Columbia University Press
ISBN: 0231513526
Category : Performing Arts
Languages : en
Pages : 421
Book Description
America's independent films often seem to defy classification. Their strategies of storytelling and representation range from raw, no-budget projects to more polished releases of Hollywood's "specialty" divisions. Yet understanding American indies involves more than just considering films. Filmmakers, distributors, exhibitors, festivals, critics, and audiences all shape the art's identity, which is always understood in relation to the Hollywood mainstream. By locating the American indie film in the historical context of the "Sundance-Miramax" era (the mid-1980s to the end of the 2000s), Michael Z. Newman considers indie cinema as an alternative American film culture. His work isolates patterns of character and realism, formal play, and oppositionality and the functions of the festivals, art houses, and critical media promoting them. He also accounts for the power of audiences to identify indie films in distinction to mainstream Hollywood and to seek socially emblematic characters and playful form in their narratives. Analyzing films such as Welcome to the Dollhouse (1996), Lost in Translation (2003), Pulp Fiction (1994), and Juno (2007), along with the work of Nicole Holofcener, Jim Jarmusch, John Sayles, Steven Soderbergh, and the Coen brothers, Newman investigates the conventions that cast indies as culturally legitimate works of art. He binds these diverse works together within a cluster of distinct viewing strategies and invites a reevaluation of the difference of independent cinema and its relationship to class and taste culture.
Directory of World Cinema: American Independent
Author: John Berra
Publisher: Intellect Books
ISBN: 1841503851
Category : Performing Arts
Languages : en
Pages : 330
Book Description
With high-profile Academy Award nominations and an increasing number of big-name actors eager to sign on to promising projects, independent films have been at the forefront in recent years like never before. But the roots of such critical and commercial successes as The Hurt Locker and Precious can be traced to the first boom of independent cinema in the 1960s, when a raft of talented filmmakers emergedto capture the attention of a rapidly growing audience of young viewers. A thorough overview of a thriving area of cultural life, Directory of World Cinema: American Independent chronicles the rise of the independent sector as an outlet for directors who challenge the status quo, yet still produce accessible feature films that not only find wide audiences but enjoy considerable box office appeal—without sacrificing critical legitimacy. Key directors are interviewed and profiled, and a sizeable selection of films are referenced and reviewed. More than a dozen sub-genres—including African American cinema, queer cinema, documentary, familial dysfunction, and exploitation—are individually considered, with an emphasis on their ability to engage with tensions inherent in American society. Copious illustrations and a range of research resources round out the volume, making this a truly comprehensive guide. At a time when independent films are enjoying considerable cultural cachet, this easy-to-use yet authoritative guide will find an eager audience in media historians, film studies scholars, and movie buffs alike.
Publisher: Intellect Books
ISBN: 1841503851
Category : Performing Arts
Languages : en
Pages : 330
Book Description
With high-profile Academy Award nominations and an increasing number of big-name actors eager to sign on to promising projects, independent films have been at the forefront in recent years like never before. But the roots of such critical and commercial successes as The Hurt Locker and Precious can be traced to the first boom of independent cinema in the 1960s, when a raft of talented filmmakers emergedto capture the attention of a rapidly growing audience of young viewers. A thorough overview of a thriving area of cultural life, Directory of World Cinema: American Independent chronicles the rise of the independent sector as an outlet for directors who challenge the status quo, yet still produce accessible feature films that not only find wide audiences but enjoy considerable box office appeal—without sacrificing critical legitimacy. Key directors are interviewed and profiled, and a sizeable selection of films are referenced and reviewed. More than a dozen sub-genres—including African American cinema, queer cinema, documentary, familial dysfunction, and exploitation—are individually considered, with an emphasis on their ability to engage with tensions inherent in American society. Copious illustrations and a range of research resources round out the volume, making this a truly comprehensive guide. At a time when independent films are enjoying considerable cultural cachet, this easy-to-use yet authoritative guide will find an eager audience in media historians, film studies scholars, and movie buffs alike.
US Independent Film After 1989
Author: Claire Perkins
Publisher: Edinburgh University Press
ISBN: 0748692452
Category : Performing Arts
Languages : en
Pages : 240
Book Description
"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."--Quatrième de couverture.
Publisher: Edinburgh University Press
ISBN: 0748692452
Category : Performing Arts
Languages : en
Pages : 240
Book Description
"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."--Quatrième de couverture.