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| year = 2004
| year = 2004
| id = ISBN 1-4013-5950-7
| id = ISBN 1-4013-5950-7

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* {{cite book
| first = Emanuel
| last = Levy
| title = Cinema of Outsiders: The Rise of American Independent Film
| publisher = NYU Press
| year = 2001
| id = ISBN-13 978-0814751244


*Berra John, Declarations of Independence: American Cinema and the Partiality of Independent Production ISBN 9781841501857
*Berra John, Declarations of Independence: American Cinema and the Partiality of Independent Production ISBN 9781841501857

Revision as of 15:44, 17 December 2007

An independent film, or indie film, is usually a low-budget film that is produced by a small movie studio. Additionally, the term is used to describe less commercially-driven art films which differ markedly from the norms of plot-driven, mainstream classical Hollywood cinema. These films are often produced by subsidiaries of larger studios, such as Sony Pictures Classics, as long as less than half of its budget comes from a major movie studio. In 2005, about 15% of the U.S. domestic box office revenue was from independent studios.[1] Independent films are often distinguishable by their content or style. The writer or director's original authorial intent or personal creative vision is usually maintained in the final film.

The independent film scene's development in the 1990s and 2000s has been stimulated by a range of factors, including the development of affordable high-definition digital video cameras that can rival 35 mm film quality and easy-to-use computer editing software and the increasing visibility of independent film festivals such as the Sundance Film Festival.

History

The roots of independent film can be traced back to the early pioneer filmmakers in the 1900s who resisted the control of the a company called the Motion Picture Patents Company and the Edison trusts. Independent filmmakers built their own cameras and moved to Southern California where they laid the foundations of the American film industry as well as the Hollywood studio.This period can be classified as the first era.

The studio system eventually became so powerful that some filmmakers once again sought independence as a result. The second era of indie filmmaking is highly influenced by the World War 2. Numerous social and cultural changes had been taking place all over the world at that time due to the effect of the ongoing war, which created a pool of new ideas and views to be tested in the films; one of which is the conception of Film Noir: a style very much prevalent even in the crime dramas of the recent years. Some of the greatest films of the 20th century such as Citizen Cane and Casablanca fall into the category of film noir.

The third era, comprising the time span of the 60’s and the 70’s is shaped by the Freedom of speech and Anti-war movements, and not the least, The Hippie Movement. In this period the indie directors and producers insisted on making films that are more “down to earth”. While the major studios kept on producing films the same old storyline which kept the moviegoers off the theatres, independent filmmakers started realizing the potential the teenagers hold in the 13-17 year old demographic.

And finally comes the modern era, starting from the late 80’s till today. This period is characterized by the swarm of new indie films released each and everyday, thanks to the inventions of modern and cost-efficient technology which makes the whole process of creating and distributing films easier than ever before. Filmmakers no longer have to depend on the major studios to provide them with the filming equipments as these have become inexpensive and easily accessible; neither have they to rely on the studios to edit and distribute films. Editing can be done in the home computer right on the desktop since a large array of professional scale editing softwares are available in the market. Advertisement and showcasing your film is no longer a big deal. Previews and teasers of new films can be downloaded from the net for free with a click of a button. Pulp Fiction, The Blair Witch Project, Clerks, Eternal Sunshine of the Spotless Mind are few of the influential films of the 20th and the 21st century.

What links all these periods is the concept of independent production as a form of resistance to any attempts towards monopolization of the American film industry. Independent filmmakers around the world have created a diverse range of filmmaking styles that symbolize their own unique cultures and subcultures such as experimental film and underground film. Some independent filmmakers use digital video techniques. While most of the U.S. film industry is located in Los Angeles, one-third of all independent films in the U.S. are produced in New York City.

Technology

File:Scarletrose-poolshot.jpg
An independent film shot on MiniDV. Edited using Apple Final Cut Pro. The DVD was authored in Sony Vegas DVD Architect on Windows. The entire project only cost $300.

Until the advent of digital alternatives, the cost of professional film equipment and stock was a major obstacle to independent filmmakers who wanted to make their own films. The cost of 35 mm film is steadily rising: in 2002 alone, film negative costs were up 23%, according to Variety.[2] Studio-quality filming typically required expensive lighting and post-production facilities.

But the advent of consumer camcorders in 1985, and more importantly, the arrival of high-definition digital video in the early 1990s, have since lowered the technology barrier to movie production considerably. Both production and post-production costs have been significantly lowered; today, the hardware and software for post-production can be installed in a commodity-based personal computer. Technologies such as DVD, FireWire connections and professional-level non-linear editing system software make movie-making relatively inexpensive.

The first independent film released on HD DVD was One Six Right on November 1, 2006.[3][4][5]

Software

Popular software (including commercial, consumer level and open source) includes:

Mac OS X

Windows

Linux

Equipment

Popular digital camcorders, mostly semi-professional equipment with 3-CCD technology, include:

Most of these camcorders cost between US$2,000–$5,000 in 2003, with costs continuing to decline as features are subtracted, and as models depreciate. Additionally, open source software holds the potential for increasing high-level editing capabilities being available for also increasingly lower prices, both for free and paid software.

Influence of Independent Films

Indie films have gained much respectability in the 1990s. One measure of their new cachet is the willingness of established actors to work for practically nothing if the role is right. A growing number of key players in Hollywood’s creative community now communicate regularly between studio and indie films. Mainstream Hollywood product dominates both domestic and foreign box-office charts, whereas independent films are the ones creating waves and winning awards at major festivals around the world.

The Artistic Impulse[6]

The main artistic impulse of the new independent cinema has come from the “outsiders”. In many indie films, the main characters are the minorities of the society. Even many of the filmmakers themselves are outsiders. It is because indie cinema is committed to cultural diversity, showcasing new works by filmmakers whose voices have been unheard or ignored in dominant culture. The portrait of the society drawn in these films is, at the same time, both more idiosyncratic and more realistic than that evident in mainstream Hollywood cinemas. American Beauty, a 1999 Oscar winning film can be a good example showcasing minorities living in the disguise of a “normal American family” in the suburban.

Independent versus major: Indiewood

On the business side, the cost of big-budget studio films also leads to conservative choices in cast and crew. The problem is exacerbated by the trend towards co-financing (over two-thirds of the films put out by Warner Bros. in 2000 were joint ventures, up from 10% in 1987).[2] An unproven film director is almost never given the opportunity to get his or her big break with the studios unless he or she otherwise has significant industry experience in film or television. Films with "unknowns" in the cast, particularly in lead roles, are also rarely produced by the Big Six.

Furthermore, another key expense for independent movie makers is the music for the film. The licensing fees for popular songs can range between US$10,000–$20,000.

The increasing popularity and feasibility of low-budget (but not necessarily low-quality) films over the last 15 years has led to a vast increase in the number of aspiring filmmakers -- people who have written spec scripts and who hope to find several million dollars to turn that script into an independent film sensation like Reservoir Dogs or Little Miss Sunshine. These aspiring filmmakers often work day-jobs while they pitch their scripts to independent film production companies, talent agents, and wealthy investors. Their dream seems much more attainable than before the independent film revolution because these novice filmmakers no longer need to gain the backing of a major studio and access to perhaps a hundred million dollars to make their film. (See the filmmaking documentary Dreams on Spec, or BookWars.)

Independent movie-making has also resulted in the proliferation and repopularization of short films and short film festivals. Full-length films are often showcased at film festivals such as the Sundance Film Festival, the Slamdance Film Festival, the South By Southwest film festival, the Raindance Film Festival, or the Cannes Film Festival. Award winners from these exhibitions are more likely to get picked up for distribution by major film studios.

North American "independent" studios

The major commercial film industry in the United States is in Hollywood, while much of the independent film industry is in New York City. The following studios are considered to be the most prevalent of the independent studios (they are used to produce/release independent films and foreign-language films):

Note that many of the above studios are actually subsidiaries of larger studios — for example, Sony Pictures Classics is owned by Sony Pictures and is designed to develop less commercial, more character driven films, and Fox Searchlight (which released the surprise hit Bend It Like Beckham in 2002) belongs to the same company that owns 20th Century Fox. Subsidiaries of major studios, as part of their larger, major studio parent companies, are not "true" independent film studios. Furthermore, companies such as Lucasfilm often co-finance their productions and partner with Big Six studios for distribution.

In addition to these higher profile "independent" studios there are thousands of smaller production companies that produce truly independent films every year. These smaller companies look to regionally release their films theatrically or for additional financing and resources to distribute, advertise and exhibit their project on a national scale. The direct-to-video market is not often noted as artistically fertile ground but among its many entries are ambitious independent films that either failed to achieve theatrical distribution or did not seek it. Moving forward, particularly as theatrical filming goes digital and distribution eventually follows, the line between "film," direct-to-disc productions, and feature-length videos whose main distribution channel is wholly electronic, should continue to blur.

Further reading

  • Lyons, Donald (1994). Independent Visions: A Critical Introduction to Recent Independent American Film. Ballantine Books. ISBN 0-345-38249-8.
  • Vachon, Christine (1996). A Killer Life: How an Independent Film Producer Survives Deals and Disasters in Hollywood and Beyond. Simon & Schuster. ISBN 0-7432-5630-1.
  • Redding, Judith (1997). Film Fatales: Independent Women Directors. Seal Press. ISBN 1-878067-97-4. {{cite book}}: Unknown parameter |coauthors= ignored (|author= suggested) (help)
  • Levy, Emanuel (1999). Cinema of Outsiders: The Rise of American Independent Film. New York University Press. ISBN 0-8147-5123-7.
  • Merritt, Greg (2000). Celluloid Mavericks: The History of American Independent Film. Thunder's Mouth Press. ISBN 1-56025-232-4.
  • Biskind, Peter (2004). Down and Dirty Pictures: Miramax, Sundance, and the Rise of Independent Film. Simon & Schuster. ISBN 0-684-86259-X.
  • {{cite book
| first = John
| last = Pierson
| title = Spike Mike Reloaded
| publisher = Miramax Books
| year = 2004
| id = ISBN 1-4013-5950-7


  • Berra John, Declarations of Independence: American Cinema and the Partiality of Independent Production ISBN 9781841501857

See also

References

  1. ^ MPAA data from January to March 2005
  2. ^ a b Sharing Pix is Risky Business variety.com. Retrieved June 23, 2007.
  3. ^ "HD DVD Digest: Indie Terwilliger Jumps Into HD DVD with 'Romance of Flying'". October 4, 2006
  4. ^ "HighDef Magazine: 34 to 24 on AJA KONA" (PDF). Page 34, Jan/Feb 2007
  5. ^ "One Six Right ..1st indie film on HD-DVD. anybody seen this yet?". AVS.com user forum, March 9, 2007
  6. ^ Cinema of outsiders books.google.com


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