Indie Reframed

Women's Filmmaking and Contemporary American Independent Cinema

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Edited by Linda Badley, Claire Perkins and Michele Schreiber

Type: Studies
Subject: Genre > Independent cinema
Keywords: United States, independent cinema, women
Publishing date: 2016
Publisher: Edinburgh University Press
Collection: Traditions in American Cinema
Language: English

Relative size

Physical desc.

Hardcover • 320 pages
6 x 9 ¼ inches (15.5 x 23.5 cm)

ISBN

978-1-4744-0392-4

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Book Presentation:
Explores the films, practitioners, production and distribution contexts that currently represent American women’s independent cinema

With the consolidation of ‘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 ‘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 pre-existing categories. This ground-breaking collection, the first sustained examination of the work of female practitioners within American independent cinema, reclaims the ‘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 ‘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 practicesContributors
• 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

About the authors:
Linda Badley is Professor of English and Film Studies at Middle Tennessee State University. She is the author of Film, Horror, and the Body Fantastic (1995), Writing Horror and the Body (1996), and Lars von Trier (2010), and the co-editor of Traditions in World Cinema (2006). With R. Barton Palmer, she co-edits Traditions in World Cinema and Traditions in American Cinema, companion series at Edinburgh University Press.
Claire Perkins is Senior Lecturer in Film and Screen Studies at Monash University, Melbourne. She is the author of American Smart Cinema (Edinburgh University Press, 2012) and co-editor of U.S Independent Film After 1989: Possible Films (Edinburgh University Press, 2015), B Is for Bad Cinema: Aesthetics, Politics and Cultural Value (2014) and Film Trilogies: New Critical Approaches (2012).
Michele Schreiber is Associate Professor of Film and Media Studies at Emory University. She is the author of American Postfeminist Cinema: Women, Romance and Contemporary Culture (Edinburgh University Press, 2014) and articles on postfeminist media and contemporary independent and Hollywood filmmakers. Her work has appeared in Journal of Film and Video and anthologies including American Independent Cinema: Indie, Indiewood and Beyond, Feminism at the Movies and Reclaiming the Archive: Feminism and Film History.

Press Reviews:
A groundbreaking collection, with an all-star feminist cast of editors and contributors, Indie Reframed taps the many benefits of examining women’s agency in the production and distribution practices of independent cinema. Theoretically savvy and up-to-date, the volume satisfyingly redresses the gender imbalance of earlier indie film scholarship.'– Dr Catherine Grant, University of Sussex

See the publisher website: Edinburgh University Press

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