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Indie reframed : women's filmmaking and contemporary American independent cinema /
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 wor...
| Clasificación: | Libro Electrónico |
|---|---|
| Otros Autores: | , , |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Edinburgh :
Edinburgh University Press,
[2016]
|
| Colección: | Traditions in American cinema.
|
| Temas: | |
| Acceso en línea: | Texto completo |
MARC
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| 245 | 0 | 0 | |a Indie reframed : |b women's filmmaking and contemporary American independent cinema / |c edited by Linda Badley, Claire Perkins and Michele Schreiber. |
| 264 | 1 | |a Edinburgh : |b Edinburgh University Press, |c [2016] | |
| 264 | 4 | |c ©2016 | |
| 300 | |a 1 online resource (xiv, 329 pages) : |b illustrations | ||
| 336 | |a text |b txt |2 rdacontent | ||
| 337 | |a computer |b c |2 rdamedia | ||
| 338 | |a online resource |b cr |2 rdacarrier | ||
| 347 | |a data file |2 rda | ||
| 490 | 1 | |a Traditions in American cinema | |
| 504 | |a Includes bibliographical references and index. | ||
| 505 | 0 | 0 | |g pt. I |t PRODUCTION AND DISTRIBUTION CONTEXTS -- |g 1. |t Women Make Movies: Chicken & Egg Pictures, Gamechanger Films and the Future of Female Independent Filmmaking / |r Sarah E.S. Sinwell -- |g 2. |t Killer Feminism / |r Patricia White -- |g 3. |t `A Woman with an Endgame': Megan Ellison, Annapurna Pictures and American Independent Film Production / |r James Lyons -- |g 4. |t Susan Seidelman's Contemporary Films: The Feminist Art of Self-reinvention in a Changing Technological Landscape / |r Christina Lane -- |g 5. |t `I'm Absolutely the Right Person for this Job': Allison Anders and Mary Harron on Lifetime Television / |r Michele Schreiber -- |g pt. II |t GENRES AND MODALITIES -- |g 6. |t Gender, Genre and More General Indie Dimensions in Megan Griffiths' The Off Hours and Eden / |r Geoff King -- |g 7. |t Down to the Bone: Neo-neorealism and Genre in Contemporary Women's Indies / |r Linda Badley -- |g 8. |t My Effortless Brilliance: Women's Mumblecore / |r Claire Perkins -- |g 9. |t Black Women, Romance and the Indiewood Rom Coms of Sanaa Hamri / |r Shelley Cobb -- |g pt. III |t IDENTITIES -- |g 10. |t From Documentary to Fictional Realism: Mira Nair's Documentary Roots, Fictional Home and Production Politics / |r Kent A. Ono -- |g 11. |t Having its Cake and Eating it Too: Contemporary American `Indie' Cinema and My Big Fat Greek Wedding Reframed / |r Lydia Papadimitriou -- |g 12. |t Not Just Indie: A Look at Films by Dee Rees, Ava DuVernay and Kasi Lemmons / |r Cynthia Baron -- |g 13. |t Sexual In-betweener/Industry In-betweener: The Career and Films of Lisa Cholodenko / |r Maria San Filippo -- |g 14. |t Miranda July and the New Twenty-first-century Indie / |r Kathleen A. McHugh -- |g pt. IV |t COLLABORATIONS -- |g 15. |t Mutual Muses in American Independent Film: Catherine Keener and Nicole Holofcener, Michelle Williams and Kelly Reichardt / |r Chris Holmlund -- |g 16. |t The Feminist Politics of Collaboration in Lena Dunham's Tiny Furniture / |r Corinn Columpar -- |g 17. |t The Director as Facilitator: Collaboration, Cooperation and the Gender Politics of the Set / |r John Alberti -- |g 18. |t Beyond the Screen: On Contemporary Feminist Media Re-articulations / |r Patricia R. Zimmermann. |
| 588 | 0 | |a Print version record. | |
| 520 | |a 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 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 | |a JSTOR |b Books at JSTOR Demand Driven Acquisitions (DDA) | ||
| 590 | |a JSTOR |b Books at JSTOR All Purchased | ||
| 590 | |a JSTOR |b Books at JSTOR Evidence Based Acquisitions | ||
| 650 | 0 | |a Independent films |z United States |x History and criticism. | |
| 650 | 0 | |a Women motion picture producers and directors |z United States. | |
| 650 | 0 | |a Motion picture industry |z United States |x History |y 20th century. | |
| 650 | 0 | |a Motion picture industry |z United States |x History |y 21st century. | |
| 650 | 6 | |a Films indépendants |z États-Unis |x Histoire et critique. | |
| 650 | 6 | |a Productrices et réalisatrices de cinéma |z États-Unis. | |
| 650 | 6 | |a Cinéma |x Industrie |z États-Unis |x Histoire |y 20e siècle. | |
| 650 | 6 | |a Cinéma |x Industrie |z États-Unis |x Histoire |y 21e siècle. | |
| 650 | 7 | |a PERFORMING ARTS |x Film & Video |x Reference. |2 bisacsh | |
| 650 | 7 | |a Independent films |2 fast | |
| 650 | 7 | |a Motion picture industry |2 fast | |
| 650 | 7 | |a Women motion picture producers and directors |2 fast | |
| 651 | 7 | |a United States |2 fast | |
| 648 | 7 | |a 1900-2099 |2 fast | |
| 655 | 0 | |a Electronic books. | |
| 655 | 7 | |a Criticism, interpretation, etc. |2 fast | |
| 655 | 7 | |a History |2 fast | |
| 700 | 1 | |a Badley, Linda, |e editor. | |
| 700 | 1 | |a Perkins, Claire |q (Claire Elizabeth), |e editor. | |
| 700 | 1 | |a Schreiber, Michele, |e editor. | |
| 776 | 0 | 8 | |i Print version: |t Indie reframed. |d Edinburgh : Edinburgh University Press, [2016] |z 9781474403948 |w (OCoLC)962321354 |
| 830 | 0 | |a Traditions in American cinema. | |
| 856 | 4 | 0 | |u https://jstor.uam.elogim.com/stable/10.3366/j.ctt1g0529f |z Texto completo |
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