Us Independent Film After 1989
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'A stimulating new collection of essays that enriches greatly the constantly expanding literature on American independent cinema. Perkins and Verevis have gathered an impressive group of contributors whose thought-provoking discussion of often forgotten, though still important, films challenges existing canons while opening up new and exciting paths in American independent film research, which future studies are bound to follow. Highly recommended!' Yannis Tzioumakis, University of Liverpool The terms 'independent' and 'indie' hold instant recognition and considerable cultural cachet in…mehr

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Produktbeschreibung
'A stimulating new collection of essays that enriches greatly the constantly expanding literature on American independent cinema. Perkins and Verevis have gathered an impressive group of contributors whose thought-provoking discussion of often forgotten, though still important, films challenges existing canons while opening up new and exciting paths in American independent film research, which future studies are bound to follow. Highly recommended!' Yannis Tzioumakis, University of Liverpool The terms 'independent' and 'indie' hold instant recognition and considerable cultural cachet in contemporary film and popular culture. As a brand of American filmmaking and a keynote of critical film discourse, indie denotes specific textual, industrial and reception practices that have been enthusiastically cultivated over the last two decades, underpinned by a canon of highly visible films such as Juno, Memento and Slacker and by influential figures like Quentin Tarantino, Wes Anderson, Kevin Smith and Joel and Ethan Coen. 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. Claire Perkins is Lecturer in Film and Screen Studies at Monash University, Melbourne. Constantine Verevis is Associate Professor in Film and Screen Studies at Monash University, Melbourne. Cover image: All the Real Girls, 2003 (c) Jamine Prods/Jean Doumanian/The Kobal Collection Cover design: Barrie Tullett
Autorenporträt
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). Constantine Verevis is Associate Professor in Film and Screen Studies at Monash University, Melbourne. His publications include: Film Remakes (Edinburgh UP, 2006), Transnational Film Remakes (Edinburgh UP, 2017), Film Reboots (Edinburgh UP, 2020), and Flaming Creatures (2020). With Claire Perkins, he is founding co-editor of Screen Serialities (Edinburgh UP).