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Author:   Linda Badley (Professor of English and Film Studies, Middle Tennessee State University) ,  Claire Perkins (Senior Lecturer in Film and Screen Studies, Monash University) ,  Michele Schreiber (Associate Professor of Film and Media Studies, Emory University)
Publisher:   Edinburgh University Press
Imprint:   Edinburgh University Press
Dimensions:   Width: 15.60cm , Height: 2.30cm , Length: 23.40cm
ISBN:  

9781474403924

ISBN 10:   1474403921
Pages:   320
Publication Date:   31 October 2016
Audience:   Professional and scholarly ,  Professional & Vocational
Format:   Hardback
Publisher's Status:   Active
Availability:   Manufactured on demand  
We will order this item for you from a manufactured on demand supplier.

Table of Contents

AcknowledgementsNotes on ContributorsIntroduction, Linda Badley, Claire Perkins and Michele Schreiber Part 1: Production and Distribution Contexts1: Women Make Movies: Gamechanger Films, Chicken and Egg Pictures and the Future of Female Independent Filmmaking, Sarah Sinwell2: Killer Feminism, Patricia White3: ‘A Woman with an Endgame’: Megan Ellison, Annapurna Pictures, and American Independent Film Production, James Lyons4: That's My Story and I'm Sticking to It: Pioneering Practices in the Frontier of Micro-budget Filmmaking, Christina Lane5: ‘I’m Absolutely the Right Person for this Job’: Allison Anders and Mary Harron on Lifetime Television, Michele Schreiber Part II: Genres and Modalities1: Gender, Genre and More General Indie Dimensions in Megan Griffiths’ The Off Hours and Eden, Geoff King2: Down to the Bone: Neo-neorealism and Genre in Contemporary Women’s Indies, Linda Badley3: My Effortless Brilliance: Women’s Mumblecore, Claire Perkins4: Black Women, Romance, and the Indiewood Rom Coms of Saana Hamri, Shelley Cobb Part III: Identities1: From Documentary to Fictional Realism: Mira Nair's Documentary Roots, Fictional Home, and Production Politics, Sarah Projansky and Kent Ono2: Having Its Cake and Eating It Too: Contemporary American ‘Indie’ cinema and My Big Fat Greek Wedding Reframed, Yannis Tzioumakis and Lydia Papadimitriou3: Not Just Indie: A Look at Films by Dee Rees, Ava DuVernay and Kasi Lemmons, Cynthia Baron4: Sexual In-betweener/Industry In-betweener: The Career and Films of Lisa Cholodenko, Maria San Filippo5: Miranda July and the New 21st Century Indie, Kathleen McHugh Part IV: Collaborations1: Mutual Muses in American Independent Film: Nicole Holofcener and Catherine Keener, Kelly Reichardt and Michelle Williams, Chris Holmlund2: The Feminist Politics of Collaboration in Lena Dunham’s Tiny Furniture, Corinn Columpar3: The Director as Facilitator: Collaboration, Cooperation, and the Gender Politics of the Set, John Alberti4: Beyond the Screen: On Contemporary Feminist Media Re-Articulations, Claudia Costa Pederson and Patricia R. Zimmermann

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

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 -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

Author Information

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.

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