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Journal articles on the topic 'Cinema independent'

Author: Grafiati

Published: 4 June 2021

Last updated: 2 February 2022

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1

Devasundaram, Ashvin. "Cyber Buccaneers, Public and Pirate Spheres: The Phenomenon of Bittorrent Downloads in the Transforming Terrain of Indian Cinema." Media International Australia 152, no. 1 (August 2014): 108–18. http://dx.doi.org/10.1177/1329878x1415200112.

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The polemic circumscribing the rise and regulation of new independent Indian cinema is a compelling example of vicissitudes in India's public sphere. This article locates a growing access to new independent Indian films through pirate spheres, reflected in the burgeoning popularity of BitTorrent websites, particularly among young, urban Indians, disenchanted by inaccessibility due to regulations and multiplex cinemas' expensive ticket-pricing system. It precipitates deeper discourses of ‘migrating’ cinema audiences, an ambivalent state of film and internet regulation, and civil resistance, exemplified in the recent Madras High Court volte face, unblocking banned BitTorrent websites. This article invokes interviews with independent filmmakers also utilising the paradigm of independent Bengali film Gandu (2010) – purportedly denied a release for its graphic sexual content, and yet widely accessed via BitTorrent and YouTube. Ultimately, this study examines the discursive ramifications of new independent Indian cinema in a metamorphosing Indian cinema sphere.

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2

Ganjavie, Amir. "The Question of National Cinema in Iranian Independent Cinema." Film International 12, no. 3 (September 1, 2014): 11–20. http://dx.doi.org/10.1386/fiin.12.3.11_1.

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3

Jahed, Parviz, and Amir Ganjavie. "Introduction: Contemporary Independent Iranian Cinema." Film International 12, no. 3 (September 1, 2014): 6–10. http://dx.doi.org/10.1386/fiin.12.3.6_1.

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4

Higson, Andrew. "Film Acting and Independent Cinema." Screen 27, no. 3-4 (May 1, 1986): 110–33. http://dx.doi.org/10.1093/screen/27.3-4.110.

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5

Marriott. "Bastard Allegories: Black British Independent Cinema." Black Camera 7, no. 1 (2015): 179. http://dx.doi.org/10.2979/blackcamera.7.1.179.

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6

Farmer, Brett. "Independent Cinema in South East Asia." South East Asia Research 21, no. 1 (March 2013): 171–76. http://dx.doi.org/10.5367/sear.2013.0141.

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7

Bleasdale, John. "D. K. Holm (2008) Independent Cinema." Film-Philosophy 12, no. 2 (October 2008): 152–56. http://dx.doi.org/10.3366/film.2008.0022.

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8

Dokhanchi, Milad. "Iranian Independent Cinema Does Not Exist!" Film International 12, no. 3 (September 1, 2014): 56–63. http://dx.doi.org/10.1386/fiin.12.3.56_1.

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9

Rawnsley, Ming-yeh T. "Memory, subjectivity and independent Chinese cinema." Historical Journal of Film, Radio and Television 35, no. 3 (July 3, 2015): 537–39. http://dx.doi.org/10.1080/01439685.2015.1059617.

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10

Saul, Gerald, and Chrystene Ells. "Shadows Illuminated. Understanding German Expressionist Cinema through the Lens of Contemporary Filmmaking Practices." Acta Universitatis Sapientiae, Film and Media Studies 16, no. 1 (August 1, 2019): 103–26. http://dx.doi.org/10.2478/ausfm-2019-0006.

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Abstract The article looks at German Expressionist cinema through the eyes of contemporary, non-commercial filmmakers, to attempt to discover what aspects of this 1920s approach may guide filmmakers today. By drawing parallels between the outsider nature of Weimar artist-driven approaches to collaborative filmmaking and twenty-first-century non-mainstream independent filmmaking outside of major motion picture producing centres, the writers have attempted to find ways to strengthen their own filmmaking practices as well as to investigate methods of re-invigorating other independent or national cinemas. Putting their academic observations of the thematic, technical, and aesthetic aspects of Expressionist cinema into practice, Ells and Saul illustrate and discuss the uses, strengths, and pitfalls, within the realm of low-budget art cinema today.

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11

Barker, Thomas. "Indie Cinema and the Short Film Assemblage." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 177, no. 2-3 (July 9, 2021): 208–20. http://dx.doi.org/10.1163/22134379-bja10027.

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Abstract Dewi pulang (Dewi goes home), the 2016 short film by Candra Aditya, offers a means to redefine the meaning of independence for contemporary Indonesian screen production. In the years of Reformasi following the end of the New Order, to be independent was to be in solidarity with the reform movement, and to express a DIY sensibility that did not rely on big production companies or the state. In recent years, the meaning of independence has been complicated by a changing cultural economy of film, including the accommodation of many previously independent filmmakers into the mainstream. Rather than seeing independence embodied in the film or filmmaker, this essay considers the history of short film and the foundational role of komunitas (communities) as the location for independent media practice. Independence is theorized as a characteristic of the assemblage of organizations, events, and infrastructures that facilitate the production, circulation, and consumption of short film.

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12

Rybina, P. "HAMLET’S APPROPRIATION IN AUTEUR AND INDEPENDENT CINEMA." Voprosy literatury, no. 2 (September 30, 2018): 38–53. http://dx.doi.org/10.31425/0042-8795-2018-2-38-53.

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The article focuses on the priorities in contemporary studies of cinematic adaptations. Looking at the various appropriations of this Shakespeare’s tragedy in art and indie movies, the researcher reveals how by underscoring the director’s visual imagination and the ‘power’ of a cinematic tradition one can revise the scope of adaptation studies. Concentrating on the signature elements of A. Kaurismäki’s and M. Almereyda’s cinematography, the author emphasizes the productivity of the audience’s ‘entrancement’ with the visual and sonic interpretation of the classical piece (through the use of the American film noir stylistics by Kaurismäki, and through Almereyda’s interplay of multiple on-screen realities). In the viewers’ memory, literary meanings are expelled rather aggressively by new cinematographic ones. Kaurismäki turns the tragedy into a tastefully stylized noir whodunit, while Almereyda went for a reflective narrative about neo-Hamletism at an age of expanding virtual realities. In her demonstration of how the directors achieved such effects, the author argues the priority of the cinematographic auteurship (including the case of collective auteurship) in the analysis of contemporary film adaptations.

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13

Mazierska, Ewa. "Želimir Žilnik and Eastern European independent cinema." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 13, no. 22 (January 13, 2013): 133. http://dx.doi.org/10.14746/i.2013.22.09.

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14

Behnam, Mansoor. "Independent Cinema in Post-1979 Revolution Iran." Film International 12, no. 3 (September 1, 2014): 31–51. http://dx.doi.org/10.1386/fiin.12.3.31_1.

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15

Aveyard, Karina. "‘Coming to a cinema near you?’: digitized exhibition and independent cinemas in Australia." Studies in Australasian Cinema 3, no. 2 (January 2009): 191–203. http://dx.doi.org/10.1386/sac.3.2.191/1.

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16

Tzioumakis, Yannis. "American Independent Cinema in the Age of Convergence." Revue Française d Etudes Américaines 136, no. 2 (2013): 52. http://dx.doi.org/10.3917/rfea.136.0052.

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17

Wilson, Scott. "Book Review: Directory of World Cinema: American Independent." Media International Australia 139, no. 1 (May 2011): 161–62. http://dx.doi.org/10.1177/1329878x1113900122.

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18

Benson-Allott, Caetlin. "On Platforms." Film Quarterly 73, no. 1 (2019): 68–72. http://dx.doi.org/10.1525/fq.2019.73.1.68.

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FQ Columnist Caetlin Benson-Allott explores the long-standing relationship between alcohol and cinema-going. She traces the history of this growing trend in movie concessions, beginning with cinema's debut at the Grand Café de Paris, whose menu certainly included alcohol. Noting the physiological effects of alcohol consumption on the viewer, she argues that moderate drinking can make mediocre movies more enjoyable. Alcohol has also helped shaped the current landscape of cinema exhibition by providing a profitable revenue stream for independent and microcinemas in addition to helping them foster a sense of community.

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19

Yigit, Zehra. "Post-migration Representations of Istanbul in Turkey’s Independent Cinema." European Journal of Multidisciplinary Studies 5, no. 1 (May 19, 2017): 306. http://dx.doi.org/10.26417/ejms.v5i1.p306-312.

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This study aims to analyze the representation of Istanbul in the Independent Cinema of Turkey. My study focuses on Istanbul not only because Istanbul presents an opportunity for micro-scaled analysis for Turkey, but also because of the fact that the cinema of Turkey being Istanbul-oriented. I focus on the major political and sociological turning points of Turkey and how all these transformations have altered the presentation of Istanbul in the movies of the same period. The migration remained to be one of those main turning points in people’s life and their conditions - in particular migration from rural to urban - on which this study is focused.

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20

Borjan, Etami. "Cesare Zavattini’s Poetics of Objectivity." Anafora 7, no. 2 (2020): 505–20. http://dx.doi.org/10.29162/anafora.v7i2.10.

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Cesare Zavattini was an acclaimed neorealist screenwriter and a theorist of neorealism. He has played a pivotal role in the critical rethinking of the new postwar Italian cinema although many of his concepts were considered avant-garde for that period. He stood for a direct, spontaneous, and immediate cinema with real people and real events. Despite his desire to eliminate all that was fictional from his films, Zavattini’s concept of new realist cinema cannot simply be described as a documentary approach. He was not so much interested in making documentary films but in making documentary-like fictions. He believed in the potential of cinema to reach a wide audience and in its capacity to be aesthetically subversive. The aspiration for an avant-garde cinema that would reach the masses was a naïve attempt that was too radical for the Italian cinema at the time. Most of his ideas were not accepted in Italy, but he was admired by young filmmakers all over the world. Some of his ideas were realized a few decades later in the works of the famous cinéma vérité and independent avant-garde filmmakers. Throughout his career, Zavattini argued that cinema should be socially committed art. He believed that neorealist films should direct the viewer’s gaze toward specific social issues and voice a subjective judgment on it. In neorealist films, fictional style and documentary rhetoric make the illusion that the experience of characters stands for the experience of the audience.

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21

Oroz, Elena, and Mar Binimelis. "Who counts? The presence of women directors in Spanish independent cinema through a data analysis of film circulation (2013-2018)." Communication & Society 33, no. 3 (June 1, 2020): 101–18. http://dx.doi.org/10.15581/003.33.3.101-118.

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This article examines the presence of women filmmakers in Spanish independent cinema by assessing the national circulation of their works in the alternative distribution and exhibition circuit where gender studies are almost inexistent. Along with other neighboring countries, independent filmmaking enjoys a growing cultural weight within a national cinema conditioned by digitalization and the domination of multinational corporations in the aftershock of the economic crisis. The study, based on a representative sample to quantify female directors, carries out a cross-sectional examination in three areas within independent film circulation that, in turn, endow them with such status: festivals, specialized VOD platforms and independent film distribution companies with catalogs for release in traditional movie theaters or the cultural sector. The chosen timeframe is 2013-2018, from the moment independent cinema, branded as other cinema, achieves increased visibility, and establishes itself as an alternative to the commercial cinema in Spain up to the most recent year with available data. The research shows that, although there is a more significant proportion of female filmmakers than in commercial production, it continues to be a minority in the 20% range. Such underrepresentation does not only affect the cultural value of women’s work but also raises questions on the nature of a type of independent film practices that lay claim to cultural diversity.

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22

Terakopian, M. "Nobuhiko Obayashi: from Independent Cinema to Mainstream and Back." Азия и Африка сегодня, no. 5 (May 2019): 74–79. http://dx.doi.org/10.31857/s032150750004755-2.

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23

Shi, Liang. "Contextualizing Chinese lesbian cinema: Global queerness and independent films." New Cinemas: Journal of Contemporary Film 10, no. 2 (September 1, 2012): 127–43. http://dx.doi.org/10.1386/ncin.10.2-3.127_1.

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24

Beirne, Rebecca. "Piracy, Geoblocking, and Australian Access to Niche Independent Cinema." Popular Communication 13, no. 1 (January 2, 2015): 18–31. http://dx.doi.org/10.1080/15405702.2014.978001.

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25

Nornes, Markus. "Filmless Festivals and Dragon Seals: Independent Cinema in China." Film Quarterly 72, no. 3 (2019): 78–86. http://dx.doi.org/10.1525/fq.2019.72.3.78.

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Markus Nornes, who documented the Chinese independent film festival scene for Film Quarterly in 2009, returns with a report on the changes this sector has experienced in the intervening decade. Borrowing a metaphor from Beijing Film Academy professor Zhang Xianmin, he offers an “update from the ruins,” as government censorship and an absence of institutional support has taken a toll on what had been a thriving festival scene. Nornes reviews the challenges faced by the Beijing International Film Festival, and its innovative responses to them, and finds hope for the future at the Shanghai International Film Festival, the Pingyao Crouching Tiger Hidden Dragon International Film Festival, and the West Lake International Documentary Film Festival.

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26

Keeling, K., J. DeClue, Y. Welbon, J. Stewart, and R. Rastegar. "Pariah and Black Independent Cinema Today: A Roundtable Discussion." GLQ: A Journal of Lesbian and Gay Studies 21, no. 2-3 (January 1, 2015): 423–39. http://dx.doi.org/10.1215/10642684-2843251.

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27

James, David E. "L.A.'s Hipster Cinema." Film Quarterly 63, no. 1 (2009): 56–67. http://dx.doi.org/10.1525/fq.2009.63.1.56.

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Contrary to postmodernist clichéé, avant-garde moving image culture is not dead; rather it is ubiquitous, although in intertwined utopian and dystopian forms. A plethora of independent exhibition venues in Los Angeles and indeed the urban fabric of the city sustain unprecedentedly vibrant and complex forms of popular cinema, according to this survey of 2008 events.

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28

Kaur, Harmanpreet. "At Home in the World: Co-productions and Indian Alternative Cinema." BioScope: South Asian Screen Studies 11, no. 2 (December 2020): 123–45. http://dx.doi.org/10.1177/0974927620983941.

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Several Indian filmmakers and production houses making ‘alternative’ and ‘independent films’ have sought to develop co-production deals with European film funds, international film festivals, film markets and sales agents. Their bid is to build a profile with art house and ‘specialty cinema’ audiences in Europe, Asia and the USA, while also seeking to impact the Indian domestic market. This article analyses the assembling of such productions, and their aesthetic form, including a reflection on charges that their adaptation to international distribution requires a conformity to what is acceptable and intelligible to ‘international audiences’. It also explores how alternative films oriented to international art cinema affect the understanding of what constitutes ‘national cinemas’. The article explores these themes through two films, Qissa (2013) and The Lunchbox (2012).

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29

Ager, Laura. "Hiding in Plain Sight." Alphaville: Journal of Film and Screen Media, no. 21 (August 5, 2021): 131–43. http://dx.doi.org/10.33178/alpha.21.08.

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Hiding in Plain Sight is an illustrated history of the former and present cinemas in the city of Leeds and an interactive website that engages Leeds residents in a participatory reminiscence project about cinemas and cinema-going. Launched in the summer of 2020, it is the most recent output of an ongoing cinema history research project at the Hyde Park Picture House, a much-loved 106 year-old Grade 2 listed independent cinema. The Hiding in Plain Sight project was one of a series of activities hosted by the organisation in line with their objective to engage as many people as possible with the cinema’s valuable heritage. The author of this paper, Dr Laura Ager, was employed by the Hyde Park Picture House as their Creative Engagement Officer between 2019 and 2020 and in this role she developed project’s framework and its research strategy. In this article she outlines the project’s origins and stages of development and considers how the methods used in the research phase have interacted with the design and production of the Hiding in Plain Sight website to give unexpected insights. She also reflects on some essential stages of project re-negotiation during the extraordinary and turbulent summer of 2020.

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30

Budzik, Justyna Hanna. "Film Education in Cinemas – Determinants and Tendencies." Panoptikum, no. 18 (December 29, 2017): 157–76. http://dx.doi.org/10.26881/pan.2017.18.10.

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The article is an attempt at critical analysis of selected film education programmes addressed at school students by independent and network cinemas. The first part of the article is devoted to a survey of key determinants for Polish film academies’ educational profiles, largely determined by the contents of the Core Curriculum. Subsequently, four case studies are conducted: the New Horizons of Film Education programme operating in the Network of Studio and Local Cinemas, Młodzieżowa Akademia Filmowa [Youth Film Academy] at Amok cinema in Gliwice, the Interdisciplinary Programme of Media Education KinoSzkoła [CinemaSchool] operating at independent cinemas and community culture centres in smaller towns and finally Akademia Filmowa Multikino [Multikino Film Academy]. In her conclusion, the author analyses these cases in the light of current European tendencies in film education, outlined in the document A Framework for Film Education.

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31

Devasundaram, Ashvin Immanuel. "Interrogating Patriarchy: Transgressive Discourses of ‘F-Rated’ Independent Hindi Films." BioScope: South Asian Screen Studies 11, no. 1 (June 2020): 27–43. http://dx.doi.org/10.1177/0974927620935236.

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Since its inception at the Bath Film Festival 2014, the ‘F-Rating’ has been adopted as a yardstick to foster equitable representation of women in film. The rise of a new sub-genre of Hindi ‘Indie’ cinema (Devasundaram, 2016, 2018) has been augmented by an array of bona fide Female-rated independent films. These films fulfil the triune criteria for F-Rating, featuring women both behind and in front of the camera – as directors, actors and scriptwriters. I argue that these distinct female voices in new independent Hindi cinema have engendered discursive filmic spaces of resistance – alternative articulations that transgress India’s patriarchal national master narrative. Indian cinema thus far has been presided over by Bollywood’s hegemonic bastion of male-dominated discourses. The mainstream industry continues to propagate gender-based wage disparity and hypersexualised representations of the female body via the serialised song and dance spectacle of the ‘item number’. The increasing presence of F-Rated Hindi films on the international film festival circuit and through wider releases, gestures towards these films’ melding of the global and local. Drawing on my curation work with the UK Asian Film Festival (UKAFF) and discursive analyses of seminal F-Rated films, this essay highlights the pivotal role played by F-Rated Hindi Indie films in opening up transdiscursive dimensions and creating national and global conversations around issues of gender inequities in India.

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32

Freitas, Kênia. "How the Machine Works." Film Quarterly 74, no. 2 (2020): 54–60. http://dx.doi.org/10.1525/fq.2020.74.2.54.

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In this article, Kênia Freitas documents the growing presence of Black filmmakers in Brazil’s independent cinema exhibition circuits and investigates the larger network of art collectives, film clubs, and film festivals that are contributing to the recent racial reconfiguration in Brazilian cinema. Focusing on three new black film series and festivals—Mostra de Cinema Negro Brasileiro (Paraná), Mostra EGBÉ de Cinema Negro (Sergipe), and Negritude Infinita (Ceará)—all situated outside the more traditional Rio/São Paulo axes of national cinema, Freitas’ discussion of these nascent exhibition networks suggests future strategies for structural transformational change.

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33

Fitzhenry, Michael, and Xuelian Zhang. "Internal Screening: the new independent cinema between Hollywood and China." Film International 5, no. 1 (January 2007): 45–57. http://dx.doi.org/10.1386/fiin.5.1.45.

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34

Stamm, Laura. "American independent cinema: rites of passage and the crisis image." New Review of Film and Television Studies 15, no. 2 (March 10, 2016): 273–75. http://dx.doi.org/10.1080/17400309.2016.1158052.

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35

Kidner, Dan. "To independent filmmakers: Stephen Dwoskin and ‘the international free cinema’." Screen 57, no. 1 (March 2016): 95–102. http://dx.doi.org/10.1093/screen/hjw013.

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36

Coen, Carlo. "Stolen bicycles and exploited children: Italian cinema and its relation to the cinema of independent India (1947–1977)." Journal of Italian Cinema & Media Studies 4, no. 3 (July 1, 2016): 353–68. http://dx.doi.org/10.1386/jicms.4.3.353_1.

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37

Bingham, Adam. "Stories Written in Sunlight and Water: The Cinema of Yoshida Yoshishige: Part 2 Independence and Independent." Asian Cinema 21, no. 2 (September 1, 2010): 268–84. http://dx.doi.org/10.1386/ac.21.2.268_1.

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38

Chatterjee, Tupur. "Book review: Ashvin Immanuel Devasundaram, India’s New Independent Cinema: The Rise of the Hybrid." BioScope: South Asian Screen Studies 10, no. 1 (June 2019): 91–95. http://dx.doi.org/10.1177/0974927619874580.

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39

Veg, Sebastian. "Anatomy of the ordinary: new perspectives in Hong Kong independent cinema." Journal of Chinese Cinemas 8, no. 1 (January 2, 2014): 73–92. http://dx.doi.org/10.1080/17508061.2013.875731.

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40

Lee, Vivian P. Y. "Between colony and nation: Decolonial visions in Hong Kong independent cinema." New Cinemas: Journal of Contemporary Film 11, no. 1 (March 1, 2013): 3–21. http://dx.doi.org/10.1386/ncin.11.1.3_1.

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41

Zahedi, Farshad. "The Myth of Bastoor and the Children of Iranian Independent Cinema." Film International 12, no. 3 (September 1, 2014): 21–30. http://dx.doi.org/10.1386/fiin.12.3.21_1.

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42

Bordino, Alex W. "Script doctoring and authorial control in Hollywood and independent American cinema." Journal of Screenwriting 8, no. 3 (September 1, 2017): 249–65. http://dx.doi.org/10.1386/josc.8.3.249_1.

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43

Huang, Yingying. "Postsocialist Conditions: Ideas and History in China’s “Independent Cinema,” 1988–2008." Chinese Literature Today 8, no. 2 (July 3, 2019): 123. http://dx.doi.org/10.1080/21514399.2019.1675377.

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44

Zarza, Zaira. "‘I want to watch movies’: Film activism and Cuban screens." Studies in Spanish & Latin American Cinemas 17, no. 3 (September 1, 2020): 383–95. http://dx.doi.org/10.1386/slac_00028_1.

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The notion of independent cinema has generated conversations and controversies around the world as scholars have attempted to demarcate what kinds of productions fit – or do not – into the category. In the absence of major private film companies, independent cinema in Cuba includes those films made without or with minimal support from the state-run Cuban Film Institute (ICAIC). Since its foundation in 1959, ICAIC has been the main and only programmer of all films screened in theatres across the country. This article offers a brief account of the relationship between Cuban independent cinema and mainstream institutions in the last few years. As a starting point, I will consider the decision to exclude the film Santa y Andrés/Santa & Andres (Lechuga 2016) from the programme of the 38th Havana Film Festival and the debates that ensued. I will also discuss the recent cultural policies – a decree that recognizes the legal rights of independent film and audio-visual producers and the introduction of 3G data plans for citizens – that hope to spawn new forms of filmmaking in Cuba and the role of social media as a collective platform for cultural conversations in the public sphere.

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45

Vanderschelden, Isabelle. "The ‘Cinéma du milieu’ is falling down: New challenges for auteur and independent French cinema in the 2000s." Studies in French Cinema 9, no. 3 (September 2009): 243–57. http://dx.doi.org/10.1386/sfc.9.3.243_1.

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46

박노출. "THE THREE FACES OF PEOPLE’S CINEMA: A CRITICAL REVIEW OF THE SOUTH KOREAN INDEPENDENT CINEMA MOVEMENT IN THE 1980S." Acta Koreana 12, no. 2 (December 2009): 21–53. http://dx.doi.org/10.18399/acta.2009.12.2.002.

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47

CHATTERJEE, SOUMIK. "The Cinema of India." Dev Sanskriti Interdisciplinary International Journal 7 (January 31, 2016): 38–49. http://dx.doi.org/10.36018/dsiij.v7i0.74.

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With what outlook should one construct, analyze or dissect film theory? Should one view cinema as a medium of mass communication? Propaganda? Entertainment? Art? Or should cinema be considered a concoction of them all? In trying to formulate a film theory, dealing with all these elementary characteristics of cinema poses a serious problem. Gaston Roberge notes that – A theory of movies would tell us what a movie is, what it is made for, how it is created in images and sounds, and for whom it is made1. The questions respectively deal with the content of a movie, the validity of the content in terms of the prevailing socio-political circumstances, the form of the movie and the target audience of the movie. Now, obviously, it is required for Indian cinema to be able to provide at least a level of generalization in answering the aforementioned questions to be considered to have a theory of its own. The purpose of this article would be to investigate whether or not such a generalization (subsequently, a film theory) is possible for Indian cinema, and then to delve further to find out how much of that theory is rooted in our original outlook toward audio-visual art. Now obviously the span of one article does not allow analysis of every type of cinema produced in as cinema-crazy a country as ours, where almost every state has its own regional cinema, independent cinema, art-house cinema and recently, underground cinema. For the purpose of the present article, therefore, we would restrict ourselves to the popular Indian cinema, namely Bollywood productions that some critics coin as commercial or entertainment cinema

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48

Drazin, Charles. "The Origin, Practice and Meaning of the Free Cinema Manifesto." Journal of British Cinema and Television 11, no. 2-3 (July 2014): 294–311. http://dx.doi.org/10.3366/jbctv.2014.0217.

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In the late 1940s, the independent film quarterly Sequence, which championed a personal, committed cinema, stood for an attitude towards film-making that provided an important basis for the development of the Free Cinema movement in the following decade. It was in Sequence that the phrase ‘Free Cinema’ was coined for the first time. This article traces the early development of the Free Cinema ethos in Sequence magazine and follows the steps by which the idea was turned into reality. It singles out Lindsay Anderson as the most influential figure in both the genesis and direction of the movement. After its formal end in 1959, Free Cinema lived on most obviously in the British New Wave of the 1960s, but its characteristics defied easy analysis. Discussing the legacy of the Free Cinema, the article explores its contradictory, subjective nature and examines the dominant role that Anderson continued to play in determining how it came to be understood.

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Shiau, Hongchi, and Karina Aveyard. "Private Sponsorships and Independent Film Exhibition in Taiwan." Media International Australia 139, no. 1 (May 2011): 133–39. http://dx.doi.org/10.1177/1329878x1113900117.

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Following the deregulation of the Taiwanese film exhibition industry in the late 1990s, local movie theatres increasingly have spurned domestic productions in favour of more dependable Hollywood blockbusters. With little commercial support for the screening of their projects, independent filmmakers in Taiwan have begun to turn to private sponsors as a means of securing theatrical deals. This article explores the historical development of this practice, and examines how it has helped some filmmakers overcome the structural and economic constraints that affect domestic productions at the cinema. The article is based on research conducted by Hongchi Shiau over a five-year period in Taiwan.

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De Witt Douglas Kilgore. "On Practicing an Independent African American Cinema: An Interview with Kevin Willmott." Black Camera 8, no. 1 (2016): 95. http://dx.doi.org/10.2979/blackcamera.8.1.0095.

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