Companion to American Indie Film

Geoff King is Professor of Film Studies at Brunel University London, UK. He is the author of numerous books on American film topics, including American Independent Cinema (2005), Indiewood, USA: Where Hollywood Meets Independent Cinema (2009), Indie 2.0: Change and Continuity in Contemporary American Indie Film (2014) and Quality Hollywood: Markers of Distinction in Contemporary Studio Film (2016).

• Contributors viiiAcknowledgements xiiIntroduction: What Indie Isn’t… Mapping the Indie Field 1Geoff KingPart One Indie Culture 231 Indie Film as Indie Culture 25Michael Z. Newman2 The Making of the Indie Scene: The Cultural Production of a Field of Cultural Production 42Sherry B. Ortner3 Indie as Organic: Tracing Discursive Roots 58Geoff KingPart Two Indie and Other Media 814 Quirky Culture: Tone, Sensibility, and Structure of Feeling 83James MacDowell5 Independent Intersections: Indie Music Cultures and American Indie Cinema 106Jamie Sexton 6 Post]Cinema Soderbergh 129Mark Gallagher Part Three Criticism, Marketing, and Positioning Indie 1537 Structuring Indie and Beasts of the Southern Wild: The Role of Review Journalism 155Erin Pearson 8 Marketing American Indie in the Shadow of Hollywood 181Finola Kerrigan Part Four Movements/Moments 2079 Proto]Indie: 1960s “Half]Way” Cinema 209Janet Staiger10 From Independent to Indie: The Independent Feature Project and the Complex Relationship between American Independent Cinema and Hollywood in the 1980s 233Yannis Tzioumakis 11Going Mainstream: The Indie Film Movement in 1999 257Thomas Schatz 12 Looking through a Rearview Mirror: Mumblecore as Past Tense 279J.J. MurphyPart Five Indie as Regional 30113 The Pull of Place: Regional Indie Film Production 303Mary P. Erickson 14 Rural Crimewave: Reconfiguring Regional Spaces through Genre in US Indie Cinema 325John Berra Part Six Aesthetics and Politics 34715 Life During Wartime: Emotionalism, Capitalist Realism, and Middle]Class Indie Identity 349Claire Perkins 16 Indie Cinema and the Neoliberal Commodification of Creative Labor: Rethinking the Indie Sensibility of Christopher Nolan 368Claire Molloy 17 “They Believe Every Fuckin’ Word Because You’re Super Cool”: Masculine Cool ’90s Style in Reservoir Dogs 389Stella Bruzzi18 The Craft of Independent Filmmaking: Editing in John Sayles’ Return of the Secaucus Seven and Baby It’s You 407Warren Buckland Part Seven Kickstarting Indie 43119 Crowdfunding, Independence, Authorship 433Chuck Tryon 20 Go Digital or Go Dark: Crowdfunding, Independent Financing, and Arthouse Exhibition on Kickstarter 452Sarah E.S. Sinwell Part Eight Indie Acting and Stardom 46921 Casing Indie Acting 471Chris Holmlund 22 Flexible Stardom: Contemporary American Film and the Independent Mobility of Star Brands 493Paul McDonald Index 000