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These various meanings are examined in the course of the book. The book is ordered chronologically, beginning with Independent Filmmaking in the Studio Era (examining both top-rank and low-end independent film production), moving to the 1950s and 1960s (discussing both the adoption of independent filmmaking as the main method of production as well as exploitation filmmaking) and finishing with contemporary American Independent cinema (exploring areas such as the New Hollywood, the rise of mini-major and major independent companies and the institutionalisation of independent cinema in the 1990s). Each chapter includes case studies which focus on specific films and\/or filmmakers, while independent production and distribution companies are also discussed in the text. Films, filmmakers and film companies examined include: *Cagney Productions and Johnny Come Lately, Blood on the Sun and The Time of Your Life *The Charlie Chan series *Lomitas Productions, Stanley Kramer and The Defiant Ones, On the Beach and Inherit the Wind *Sam Katzman and Rock Around the Clock *Roger Corman and The Wild Angels *John Cassavetes and Shadows *Dennis Hopper and The Last Movie *American International Pictures and Foxy Brown *John Sayles and Return of the Secaucus Seven *Filmhaus Productions, David Mamet and House of Games *Steven Soderbergh and Sex Lies and Videotape *Kevin Smith and Clerks *Monogram, Republic Pictures and Producers Releasing Corporation *William Castle Productions, Embassy Pictures, New World Pictures, Dimension and Crown International *Orion Pictures *The Sundance Film Institute Key Features: *Illustrates that American Independent Cinema is not just a recent phenomenon but has a history as extensive as that of mainstream Hollywood. *The first book to examine what American Independent Cinema has meant at various times in the history of American cinema. *Places emphasis on industrial and economic conditions and how these shaped the independent sector throughout the 20th century. *Includes a large range of case studies of films which carry the 'independent' label for a variety of reasons. *Unique in covering the whole of the 20th century - other books in the area only cover the last 30 years.","brand":"WoB","offers":[{"title":"GB \/ GOOD \/ INTERNAL","offer_id":49595761099025,"sku":"GOR006034788","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"GB \/ VERY_GOOD \/ INTERNAL","offer_id":50893818495249,"sku":"GOR010666511","price":0.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/0748618678.jpg?v=1770372051"},{"product_id":"american-independent-cinema-book-yannis-tzioumakis-9780813539706","title":"American Independent Cinema","description":"\u003cp\u003eFrom the prestige films of Cagney Productions to recent, ultra-low budget cult hits, such as \u003ci\u003eClerks\u003c\/i\u003e and \u003ci\u003eThe Blair Witch Project\u003c\/i\u003e, American independent cinema has produced some of the most distinctive films ever made. This comprehensive introduction draws on key films, filmmakers, and film companies from the early twentieth century to the present to examine the factors that shaped this vital and evolving mode of filmmaking.\u003c\/p\u003e\u003cp\u003eSpecifically, it explores the complex and dynamic relations between independent and mainstream Hollywood cinema, showing how institutional, industrial, and economic changes in the latter have shaped and informed the former. Ordered chronologically, the book begins with Independent Filmmaking in the Studio Era (examining both top-rank and low-end film production), moves to the 1950s and 1960s (discussing both the adoption of independent filmmaking as the main method of production as well as exploitation filmmaking), and finishes with contemporary American independent cinema (exploring areas such as the New Hollywood, the rise of mini-major and major independent companies and the institutionalization of independent cinema in the 1990s). 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Specifically, it explores the complex and dynamic relations between independent and mainstream Hollywood cinema, showing how institutional, industrial, and economic changes in the latter have shaped and informed the former. Ordered chronologically, the book begins with Independent Filmmaking in the Studio Era (examining both top-rank and low-end film production), moves to the 1950s and 1960s (discussing both the adoption of independent filmmaking as the main method of production as well as exploitation filmmaking), and finishes with contemporary American independent cinema (exploring areas such as the New Hollywood, the rise of mini-major and major independent companies and the institutionalization of independent cinema in the 1990s). 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Providing new avenues of approaching the film, the book looks at how Rock around the Clock has attracted significant scholarly attention, despite its origins as a low-budget production made by master exploitation filmmaker Sam Katzman. It challenges accounts that see the film’s young people as juvenile delinquents, using instead the label ‘cultural rebels’ as a signifier of youth’s ability to resurrect a moribund music industry and rejuvenate a stale youth culture. This book also questions the nature of the label ‘exploitation’ as applied to the film by examining Columbia Pictures’ role as a resource provider for Katzman’s film, comparing Rock around the Clock to contemporaneous films with a youth focus that were produced in different industrial contexts and investigating its relationship to adaptation by asking whether the film is an example of a ‘postliterary’ adaptation.  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Whereas most previous scholarship has examined these developments through the prism of auteurism, with its tight focus on film directors and their oeuvres, the contributors to this collection also carefully examine production histories and processes. In doing so they pay particular attention to the economic underpinnings and collaborative nature of filmmaking, the influence of European art cinema as well as of exploitation, experimental and underground films, and the connections between cinema and other media (notably publishing, music and theatre). 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