What is the state of American indie cinema in the second decade of
the twenty-first century? Some have forecast an end to the
viability of an indie sector marked by the appearance of films with
ambitions significantly beyond those of the commercial mainstream.
But, as this book demonstrates, plenty of distinctively indie
productions continue to thrive, even in the face of difficult
economic circumstances. Using the term indie 2.0 to denote the
particular form of independent feature production that achieved
cultural prominence in this contemporary period, Geoff King
explores new opportunities for indie films, including the use of
low-cost digital video and the pursuit of the internet and social
media as alternative means of funding, distribution, promotion and
sales. Other detailed case studies focus on the ultra-low-budget
'mumblecore' movement; the social realism of filmmakers such as
Kelly Reichardt and Ramin Bahrani; the 'digital desktop' aesthetics
of Susan Buice and Arin Crumley's "Four Eyed Monsters" and Jonathan
Caouette's "Tarnation", and the articulation of notions of 'true'
indie in opposition to what are seen by some as the quirky
contrivances of cross-over hits such as "Little Miss Sunshine" and
"Juno".
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