Selecting Films for Festivals and Documentary Funds: An Interview with Independent Film Programmer and Advisor Rada Šešić

2020 ◽  
pp. 175-184
Author(s):  
Jennifer M. J. O’Connell ◽  
Annelies van Noortwijk
Keyword(s):  
Independent Film

Britain's Channel 4: A TV Provider Caught Between Private Sector Funding and Its Cultural Mission

2014 ◽  
Vol 11 (4) ◽  
pp. 418-439 ◽  
Author(s):  
Gabriele Bock ◽  
Siegfried Zielinski
Keyword(s):  
Public Service ◽  
Risk Taking ◽  
Independent Film ◽  
Television Channel ◽  
Policy Context ◽  
Funding Mechanism ◽  
Contemporary Perspective ◽  
Hybrid Character ◽  
Commercial Station ◽  
First Time

This article, which first appeared in Media Perspektiven 1 (1987), is published here for the first time in English. It offers an enlightening contemporary perspective, from the then German Federal Republic, on the innovation in European broadcasting which Channel 4 represented. It outlines the policy context which gave rise to the UK's fourth television channel and describes its unique, hybrid character as a commercial station funded by advertising revenue with a public service remit. It assesses the strengths and weaknesses of Channel 4's commissioning structure and identifies significant examples of its innovative programming, paying particular attention to its support for independent film. That emphasis is noteworthy since it was West German television's film-funding mechanism that provided the model on which Film on Four was based. The article recognises Channel 4's commitment to catering for minority audiences, to enabling broader access to programme-making and to commissioning work that was experimental in form and content. It is generous in suggesting that such a risk-taking cultural enterprise was only possible within the UK's mature and highly developed broadcasting ecology, but it remains cautious (perhaps presciently) of its sustainability in the expanding commercial marketplace of multi-channel television.

Not Hollywood: Independent Film at the Twilight of the American Dream

Screen ◽  
2014 ◽  
Vol 55 (1) ◽  
pp. 155-158 ◽  
Author(s):  
Y. Tzioumakis
Keyword(s):  
American Dream ◽  
Independent Film

CAREERS, COMMUNITIES, AND INDUSTRY EVOLUTION: LINKS TO COMPLEXITY THEORY

2001 ◽  
Vol 05 (02) ◽  
pp. 239-255 ◽  
Author(s):  
MICHAEL B. ARTHUR ◽  
ROBERT J. DEFILLIPPI ◽  
VALERIE J. LINDSAY
Keyword(s):  
Complexity Theory ◽  
Ways Of Knowing ◽  
Industry Evolution ◽  
Alternative View ◽  
Building Industry ◽  
Independent Film ◽  
Unit Of Analysis ◽  
Boat Building ◽  
Film Making ◽  
Principal Unit

Traditional views of industry evolution focus on the company as their principal unit of analysis. We offer an alternative view that links between workers' careers and successive community, company and industry effects. We apply this view to evidence from independent film-making, and suggest a conception of the career, involving three "ways of knowing", to underlie these links. We next explore two more industry examples, the New Zealand boat building industry and the Linux operating system in the software industry, which provide further support for the alternative view proposed, as well as extending it to consider the influence of the World Wide Web. We see all three industry examples as illustrating a range of ideas in complexity theory. We propose that a career-centric view provides a useful basis for the further exploration and application of complexity theory to industrial life.

scholarly journals 50 years on: Galtung and Ruge's news value factors revisited in online audience building for independent films

First Monday ◽  
2015 ◽  
Author(s):  
Nico Meissner
Keyword(s):  
Mass Media ◽  
Opinion Leaders ◽  
The Internet ◽  
Constructivist Approach ◽  
Independent Film ◽  
Independent Films ◽  
News Values ◽  
Internet Age ◽  
News Value

In 1965, Galtung and Ruge published an influential list of news values. Fifty years later, my article takes this list to demonstrate how mass media principles still apply when building audiences for an independent film in the Internet age. The article builds on the constructivist approach that news values can be actively formulated and stressed. It uses the case study of independent film project 15Malaysia, illustrating how this project, though unknowingly, actively created news value to convince opinion leaders of its worth and, ultimately, build an audience of over two million viewers.

scholarly journals Independent Film for Solidarity of Traumas in the Cinema of Turkey

2022 ◽  
pp. 6-21
Author(s):  
Fatma Edemen
Keyword(s):  
Independent Film ◽  
Film Analysis ◽  
Works Of Art ◽  
The Holocaust ◽  
Multidirectional Memory

Michael Rothberg introduced the concept of multidirectional memory in Multidirectional Memory: Remembering the Holocaust in the Age of Decolonization (2009). Later, many other scholars used his idea to analyze works of art, including films. Although multidirectional memory generally focuses on the possibility of establishing solidarity between memories/traumas that are geographically or culturally distant from each other, in this article it will be argued that this concept is also crucial within coexisting multicultural and multitraumatic societies. The concept of multidirectional memory, and subsequently concepts such as travelling memory and postmemory, will be examined through the analysis of an independent production from Turkey, Özcan Alper’s film Future Lasts Forever (Gelecek Uzun Sürer, 2011). With the help of critical film analysis, the multidirectional memory of Turkey’s traumatic past will be discussed as an opportunity to practice solidarity.

Embodying Dialogue: Rich Voices, Expressive Mouths and Gesticulation

2018 ◽  
pp. 102-127
Author(s):  
Jennifer O'Meara
Keyword(s):  
Case Studies ◽  
Independent Film ◽  
Independent Cinema ◽  
The Relationship ◽  
Thinking Out Loud

This chapter considers the relationship between embodiment and dialogue in American independent cinema, arguing that such filmmakers and performers can aim to create the impression of character interiority and performer improvisation. For example, speech can be scripted to changes direction, while actors are called upon to deliver dialogue as though thinking ‘out loud’. In addition to exploring distinctive verbal and/or vocal styles (including a notably fast-paced delivery), the chapter pays particular attention to the expressiveness of hands and mouths. It is argued that gesticulation – or talking with one’s hands – can contribute a sense of live thought to rehearsed dialogue. The analysis includes case studies of the performance styles of Chris Eigeman and Greta Gerwig, whose distinctive voices and delivery are tied to their success as independent film actors. Through consultation with screenplays and interviews, the chapters reveals how independent writer-directors increase their influence on dialogue embodiment by scheduling long rehearsal periods and through written script directions.

Breakthrough: Wendy and Lucy

2018 ◽  
Author(s):  
E. Dawn Hall
Keyword(s):  
Hurricane Katrina ◽  
American Dream ◽  
Lower Class ◽  
Close Reading ◽  
Third Wave ◽  
Independent Film ◽  
Working Classes ◽  
Disaster Victims ◽  
Women’S Representation ◽  
Political Statement

This chapter is a close reading of Wendy and Lucy, a film loosely based on the depictions of disaster victims and the perceived governmental failing to provide and protect those affected by Hurricane Katrina. It is Reichardt’s political statement about being homeless and female in America. Highlighting distribution details, the chapter explores the necessity of a micro-budget that dictate and contribute to many independent filmmakers’ aesthetics. The chapter discusses her use of “slow cinema,” ecofeminism, and the rejection of a capitalistic and patriarchal “American Dream.” Reichardt highlights the overlooked or marginalized in America: women, the working classes, and the poverty stricken. Influenced by the Italian Neorealists of the 1940s, the film addresses current issues of poverty juxtaposed with consumerism in America. Finally building on work of Anita Harris and Sherry Ortner’s analysis of lower class women’s representation in independent film, the chapter situates Wendy and Lucy in relation to post-feminist and third wave feminist concerns.

Sign in / Sign up

Export Citation Format

Share Document