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Extra resources for Contemporary American Independent Film: From the Margins to the Mainstream
These changes in terminology and focus indicate a long and constant anxiety of filmmakers working in the avant-garde film mode to define their own identity, to understand where their art belongs within the art of cinema. It has been a slow movement away from the status of outcasts to the status of filmmakers whose work is far from marginal—perhaps, just the opposite. To paraphrase Peter Kubelka: It’s the commercial film that is on the margin of the art of cinema and that needs a proper and clear term to Independence for independents 31 describe it; avant-garde filmmakers do not need any terms to describe their work—their work is, simply, Cinema.
Com/ (accessed 1 July 2003). Glucksman, M. com/ (accessed 2 July 2003). com/ (accessed 1 July 2003). Handy, B. (1998) ‘Truly Independent Cinema,’ Time Magazine, 26 October: 93. Harris, D. (2003) ‘H’wood Renews Niche Pitch,’ Variety, 390, 8 (7–13 April): 1, 54. Hernandez, E. (1999) ‘Pixel Nation,’ Filmmaker Magazine (spring): 31–2. Hillier, J. (1994) The New Hollywood, New York: Continuum. ) (2001) American Independent Cinema, London: British Film Institute. Holland, G. (2000) ‘Filmmaking Year Zero,’ Filmmaker Magazine (winter): 34–7.
2003) ‘H’wood Renews Niche Pitch,’ Variety, 390, 8 (7–13 April): 1, 54. Hernandez, E. (1999) ‘Pixel Nation,’ Filmmaker Magazine (spring): 31–2. Hillier, J. (1994) The New Hollywood, New York: Continuum. ) (2001) American Independent Cinema, London: British Film Institute. Holland, G. (2000) ‘Filmmaking Year Zero,’ Filmmaker Magazine (winter): 34–7. Holt, J. ) Fifty Contemporary Filmmakers, London and New York: Routledge, 303–11. Kleinhans, C. ) The New America Cinema, Durham, NC, and London: Duke University Press, 307–27.