Independent film

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An independent film, or indie film, is a film that is produced outside of the Hollywood studio system, a series of monopolistic practices by several major American film studios (MGM, Paramount Pictures, RKO, Warner Bros. and Twentieth Century Fox) which controlled the production, distribution, and exhibition of films in the US from the early 1920s through 1950s. Though its monopolistic practices were officially ended by the Paramount Decision in 1948, all five of the Golden Age majors continue to exist as major Hollywood studio entities through 2008.

Though film production companies in other countries have at times achieved and maintained full integration in a manner similar to Hollywood's Big Five, the Hollywood system and style remain uniquely American in character and origin. As such, films produced outside of America are generally qualified as foreign rather than independent.

Independent films today are generally defined as American films financed and distributed by sources outside today's Big Six and its subsidiaries.

Contents

[edit] History

[edit] Resistance to the Edison Trust

Main article: Edison Trust

The roots of independent film can be traced back to filmmakers in the 1900s who resisted the control of a trust called the Motion Picture Patents Company or "Edison Trust."

The Motion Picture Patents Company, founded in December 1908, was a trust of all the major film companies (Edison, Biograph, Vitagraph, Essanay, Selig, Lubin, Kalem, American Star, American Pathé), the leading distributor (George Kleine) and the biggest supplier of raw film, Eastman Kodak.

At the time of the formation of the MPPC, Thomas Edison owned most of the major patents relating to motion pictures, including that for raw film. The MPPC vigorously enforced its patents, constantly bringing suits and receiving injunctions against independent filmmakers. Because of this, a number of filmmakers responded by building their own cameras and moving their operations to Hollywood, California, whose distance from Edison's home base of New Jersey made it more difficult for the MPPC to enforce its patents.[1]

The Edison Trust was soon ended by two decisions of the Supreme Court of the United States: one in 1912, which canceled the patent on raw film, and a second in 1915, which cancelled all MPPC patents. Though these decisions succeeded at legalizing independent film, they would do little to remedy the de facto ban on small productions; the independent filmmakers who had fled to Southern California during the enforcement of the trust had already laid the groundwork for the studio system of classical Hollywood cinema.

[edit] United Artists and the resistance to the studio system

Main article: United Artists

The studio system quickly became so powerful that some filmmakers once again sought independence as a result. On February 5, 1919 four of the leading figures in American silent cinema (Mary Pickford, Charles Chaplin, Douglas Fairbanks, and D. W. Griffith) formed United Artists, the first independent studio in America. Each held a 20% stake, with the remaining 20% held by lawyer William Gibbs McAdoo.[2] The idea for the venture originated with Fairbanks, Chaplin, Pickford, and cowboy star William S. Hart a year earlier as they were traveling around the U.S. selling Liberty bonds to help the World War I effort. Already veterans of Hollywood, the four film stars began to talk of forming their own company to better control their own work as well as their futures. They were spurred on by the actions of established Hollywood producers and distributors, who were making moves to tighten their control on stars' salaries and creative control. With the addition of Griffith, planning began, but Hart bowed out before things had formalized. When he heard about their scheme, Richard A. Rowland, head of Metro Pictures, is said to have observed, "The inmates are taking over the asylum."

The four partners, with advice from McAdoo (son-in-law and former Treasury Secretary of then-President Woodrow Wilson), formed their distribution company, with Hiram Abrams as its first managing director. The original terms called for Pickford, Fairbanks, Griffith and Chaplin to independently produce five pictures each year. But by the time the company got under way in 1920-1921, feature films were becoming more expensive and more polished, and running times had settled at around ninety minutes (or eight reels). It was believed that no one, no matter how popular, could produce and star in five quality feature films a year. By 1924, by which time Griffith had dropped out, the company was facing a crisis: either bring in others to help support a costly distribution system or concede defeat. The veteran producer Joseph Schenck was hired as president. Not only had he been producing pictures for a decade, but he brought along commitments for films starring his wife, Norma Talmadge, his sister-in-law, Constance Talmadge, and his brother-in-law, Buster Keaton. Contracts were signed with a letter of independent producers, especially Samuel Goldwyn, Alexander Korda and Howard Hughes. Schenck also formed a separate partnership with Pickford and Chaplin to buy and build theaters under the United Artists name.

Still, even with a broadening of the company, UA struggled. The coming of sound ended the careers of Pickford and Fairbanks. Chaplin, rich enough to do what he pleased, worked only occasionally. Schenck resigned in 1933 to organize a new company with Darryl F. Zanuck, Twentieth Century Pictures, which soon provided four pictures a year to UA's schedule. He was replaced as president by sales manager Al Lichtman who himself resigned after only a few months. Pickford produced a few films, and at various times Goldwyn, Korda, Walt Disney, Walter Wanger, and David O. Selznick were made "producing partners" (i.e., sharing in the profits), but ownership still rested with the founders. As the years passed and the dynamics of the business changed, these "producing partners" drifted away, Goldwyn and Disney to RKO, Wanger to Universal Pictures, Selznick to retirement. By the late 1940s, United Artists had virtually ceased to exist as either a producer or distributor.

[edit] The Society of Independent Motion Picture Producers

Main article: Society of Independent Motion Picture Producers

In 1941, Mary Pickford, Charlie Chaplin, Walt Disney, Orson Welles, Samuel Goldwyn, David O. Selznick, Alexander Korda, and Walter Wanger—many of the same people who were members of United Artists—founded the Society of Independent Motion Picture Producers. Later members included William Cagney, Sol Lesser, and Hal Roach. The Society aimed to preserve the rights of independent producers in an industry overwhelmingly controlled by the studio system. SIMPP fought to end monopolistic practices by the five major Hollywood studios which controlled the production, distribution, and exhibition of films.

In 1942, the SIMPP filed an antitrust suit against Paramount's United Detroit Theatres. The complaint accused Paramount of conspiracy to control first-run and subsequent-run theaters in Detroit. It was the first antitrust suit brought by producers against exhibitors alleging monopoly and restraint of trade.

In 1948, the United States Supreme Court Paramount Decision ordered the Hollywood movie studios to sell their theater chains and to eliminate certain anti-competitive practices. This effectively brought an end to the studio system of Hollywood's Golden Age.

By 1958, many of the reasons for creating the SIMPP had been corrected and SIMPP closed its offices.

[edit] Low-budget films

Main article: Low-budget film

The efforts of the SIMPP and the advent of inexpensive portable cameras during World War II effectively made it possible for any person in America with an interest in making films to write, produce, and direct one without the aide of any major film studio. These circumstances soon resulted in a number of critically acclimed and highly influential works, including Maya Deren's Meshes of the Afternoon in 1943, Kenneth Anger's Fireworks in 1947, and Raymond Abrashkin's Little Fugitive in 1953. Little Fugitive became the first independent film to be nominated for Best Picture at the American Academy Awards. It also received Silver Lion at Venice. Both Abrashkin and Anger's films won acclaim overseas from the burgeoning French New Wave, with Fireworks inspiring praise and an invitation to study under him in Europe from Jean Cocteau, and François Truffaut citing Little Fugitive as an essential inspiration to his seminal work, The 400 Blows.

Unlike the films of the collapsing studio system, these new low-budget films could afford to take risks and explore new artistic territory outside of the classical Hollywood narrative. Maya Deren was soon joined in New York by a crowd of like minded avant-garde filmmakers who were interested in creating films as works of art rather than entertainment. Based upon a common belief that the "official cinema" was "running out of breath" and had become "morally corrupt, aesthetically obsolete, thematically superficial, [and] temperamentally boring," [3], this new crop of independents formed The Film-Makers' Cooperative, an artist-run, non-profit organization which they would use to distribute their films through a centralized archive. Founded in 1962 by Jonas Mekas, Stan Brakhage, Shirley Clarke, Gregory Markopoulos, and others, the Cooperative provided an important outlet for many of cinemas creative luminaries in the 1960s, including Jack Smith and Andy Warhol. When he returned to America, Ken Anger would debut many of his most important works there. Mekas and Brakhage would go on to found the Anthology Film Archives in 1970, which would likewise prove essential to the development and preservation of independent films, even to this day.

[edit] The exploitation boom and the MPAA rating system

Main article: B movies (The exploitation boom)

Not all low budget films existed as non-commercial art ventures. The success of films like Little Fugitive, which had been made with low (or sometimes non-existent) budgets encouraged a huge boom in popularity for non-studio films. Low budget film making promised exponentially greater returns if the film could have a successful run in the theaters. During this time, independent producer/director Roger Corman began a sweeping body of work that would become legendary for its frugality and grueling shooting schedule. Until his so-called "retirement" as a director in 1971 (he continued to produce films even after this date) he would produce up to seven movies a year, matching (and exceeding) the five a year schedule that the executives at United Artists had once thought impossible.

Like those of the avante-garde, the films of Roger Corman took advantage of the fact that unlike the studio system, independent films had never been bound by its self-imposed production code. Corman's example (and that of others like him) would help start a boom in independent B-movies in the 1960s, the principle aim of which was to bring in the youth market which the major studios had lost touch with. By promising sex, wanton violence, drug use, and nudity, these films hoped to draw audiences to independent theaters by offering to show them what the major studios could not. Horror and science fiction films experienced a period of tremendous growth during this time.

In 1968, a young filmmaker named George Romero shocked audiences with Night of the Living Dead, a new kind of intense and unforgiving independent horror film. This film was released just after the abandonment of the production code, but before the adoption of the MPAA rating system. As such, it was the first and last film of its kind to enjoy a completely unrestricted screening, in which young children were able to witness Romero's new brand of highly realistic gore. This film would help to set the climate of independent horror for decades to come, as films like The Texas Chain Saw Massacre in 1974 and Cannibal Holocaust in 1980 continued to push the envelope.

With the production code abandoned and violent and disturbing films like Romero's gaining popularity, Hollywood opted to placate the uneasy filmgoing public with the MPAA ratings system, which would place restrictions on ticket sales to young people. Unlike the production code, this rating system posed a threat to independent films in that it would affect the number of tickets they could sell and cut into the grindhouse cinema's share of the youth market. This change would further widen the divide between commercial and non-commercial films.

[edit] New Hollywood and independent filmmaking

Main article: New Hollywood

Following the advent of television and the Paramount Case, the major studios attempted to lure audiences with spectacle. Widescreen processes and technical improvements, such as Cinemascope, stereo sound and others, were invented in order to retain the dwindling audience by giving them a larger-than-life experience.

The 1950s and early 60s saw a Hollywood dominated by musicals, historical epics, and other films that benefited from the larger screens, wider framing and improved sound. This proved commercially viable during most of the 1950s. However, by the late Sixties, audience share was dwindling at an alarming rate. Several costly flops, including Cleopatra and Hello, Dolly! put severe strain on the studios. Meanwhile, in 1951, lawyers-turned-producers Arthur Krim and Robert Benjamin had made a deal with the remaining stockholders of United Artists which would allow them to make an attempt to revive the company and, if the attempt was successful, buy it after five years. The attempt was a success, and in 1955 United Artists became the first "studio" without an actual studio. UA leased space at the Pickford/Fairbanks Studio, but did not own a studio lot as such. Because of this, many of their films would be shot on location, a practice that also helped to save money. Primarily acting as bankers, they offered money to independent producers. Thus UA did not have the overhead, the maintenance or the expensive production staff which ran up costs at other studios. UA went public in 1956, and as the other mainstream studios fell into decline, UA prospered, adding relationships with the Mirisch brothers, Billy Wilder, Joseph E. Levine and others.

By the mid 1960s, the remaining four of big five had recognized that they did not know how to reach the youth audience. Foreign films, especially European and Japanese cinema, were experiencing a major boom in popularity with young people, who were interested in seeing films with non-traditional subjects and narrative structures. An added draw for such films was that they, like the American independents, were unencumbered by the production code. In an attempt to capture this audience, the Studios hired a host of young filmmakers (many of whom were mentored by Roger Corman) and allowed them to make their films with relatively little studio control.

In 1967, Warner Bothers offered first-time producer Warren Beatty 40% of the gross on his film Bonnie & Clyde instead of a minimal fee. The movie proceeded to gross over $70 million world-wide by 1973. This initial successes paved the way for the studio to relinquish almost complete control to the film school generation and began what the media dubbed "New Hollywood."

On May 16, 1969, Dennis Hopper, a young American filmmaker, wrote, directed, and acted in his first film, Easy Rider. Along with his producer/star/co-writer Peter Fonda, Hopper was responsible for the first completely independent film of New Hollywood. Easy Rider debuted at Cannes and garnered the "First Film Award," ("Prix de la premiere oeuvre") after which it received two Oscar nominations, one for best original screenplay and one for Corman-alum Jack Nicholson's breakthrough performance in the supporting role of George Hanson, an alcoholic lawyer for the ACLU.

Following on the heels of Easy Rider just over a week later, the revived United Artists' Midnight Cowboy, which, like Easy Rider, took numerous cues from Ken Anger and his influences in the French New Wave, became the first and only X rated film to win the Academy Award for best picture. Midnight Cowboy also held the distinction of featuring cameo roles by many of the top Warhol superstars, who had already become symbols of the militantly anti-Hollywood climate of NYC's independent film community.

Within a month, another young Corman trainee, Francis Ford Coppola, made his debut in Spain at the Donostia-San Sebastian International Film Festival with The Rain People, a film he had founded his own studio, American Zoetrope, to make a reality. Though The Rain People was largely overlooked by American audiences, Zoetrope would became a powerful force in New Hollywood. Through Zoetrope, Coppola formed a distribution agreement with studio giant, Warner Bros., which he would exploit to achieve wide releases for his films without making himself subject to the controlling forces of Hollywood.

These three films provided the major Hollywood studios with both an example to follow and a new crop of talent to draw from. In 1971, Zoetrope co-founder George Lucas made his feature film debut with THX 1138, also released by Zoetrope through their deal with Warner Bros., announcing himself as another major talent of New Hollywood. By the following year, the leaders of the New Hollywood revolution had made enough of a name for themselves that Coppola was able to convince Paramount to fund his multi-generational gangster epic, The Godfather. Meanwhile Lucas had obtained studio funding for American Graffiti from Universal. In the mid-1970s, the major Hollywood studios continued to tap these new filmmakers for both ideas and personnel, producing idiosyncratic, startling original films such as Paper Moon, Dog Day Afternoon and Taxi Driver, all of which were met with enormous critical and commercial success. These successes by the members of New Hollywood led each of them in turn to make more and more extravagant demands, both on the studio and eventually on the audience.

It can often seem that all members of the New Hollywood generation of the 1970s were independent filmmakers. Though those mentioned above began with a considerable claim on the title, almost all of the major films commonly associated with the movement were studio projects. The New Hollywood generation soon became firmly entrenched in a revived incarnation of the studio system, which financed the development, production and distribution of their films. Very few of these filmmakers ever independently financed or independently released a film of their own, or ever worked on an independently financed production during the height of the generation's influence. Seemingly independent films such as Taxi Driver, The Last Picture Show and others were studio films: the scripts were based on studio pitches and subsequently paid for by the studios, the production financing was from the studio, and the marketing and distribution of the films were designed and controlled by the studio. Though Coppola made considerable efforts to resist the influence of the studios, opting to finance his risky 1979 film Apocalypse Now himself rather than compromise with skeptical studio executives, he, and filmmakers like him, had saved the old studios from financial ruin by providing it with a new formula for success.

Indeed, it was during this period that the very definition of an independent film became blurred. Though Midnight Cowboy was financed by United Artists, the company was certainly a studio. Likewise, Zoetrope was another "independent studio" which worked within the system to make a space for independent directors who needed funding. George Lucas would leave Zoetrope in 1977 to create his own independent studio, Lucasfilm, which would produce the blockbuster Star Wars and Indiana Jones trilogies. In fact, the only two movies of the movement which can be described as uncompromisingly independent are Easy Rider at the beginning, and Peter Bogdanovich's They All Laughed, at the end. Peter Bogdanovich bought back the rights from the studio to his 1980 film and paid for its distribution out of his own pocket, convinced that the picture was better than what the studio believed — he eventually went bankrupt because of this.

In retrospect, it can be seen that Steven Spielberg's Jaws (1975) and George Lucas's Star Wars (1977) marked the beginning of the end for the New Hollywood. With their unprecedented box-office successes, these movies jump-started Hollywood's blockbuster mentality, giving studios a new paradigm as to how to make money in this changing commercial landscape. The focus on high-concept premises, with greater concentration on tie-in merchandise (such as toys), spin-offs into other media (such as soundtracks), and the use of sequels (which had been made more respectable by Coppola's The Godfather Part II), all showed the studios how to make money in the new environment.

On realizing how much money could potentially be made in films, major corporations started buying up the remaining Hollywood studios, saving them from the oblivion which befell RKO in the 50s. The corporate mentality these companies brought to the filmmaking business would slowly squeeze out the more idiosyncratic of these young filmmakers, while ensconcing the more malleable and commercially successful of them. Like the original independents who fled the Edison Trust to form old Hollywood, the young film school graduates who had fled the studios to explore on-location shooting and dynamic, neo-realist styles and structures ended up replacing the tyrants they had sought to dislodge with a more stable and all-pervasive base of power.

[edit] Outside of Hollywood

Though many of the thematic changes that would resound through the American cinema of the 1970s would prominently feature heightened depictions of realistic sex and violence, those directors who wished to reach the audience which the old Hollywood once had quickly learned to stylize these actions in a way that made them appealing and attractive, rather than repulsive or obscene. However, at the same time that the maverick film students who would become the American new wave were developing the skills they would use to take over Hollywood, many of their classmates had begun to develop in a different direction. Influenced by foreign "art house" directors, (such as Ingmar Bergman and Federico Fellini) exploitation shockers (including Joseph P. Mawra) and those who walked the line between, (Kenneth Anger et al) a number of young film makers began to experiment with transgression not as a box-office draw, but as an artistic act. Directors such as John Waters and David Lynch would make a name for themselves by the early 70s for the bizarre and often disturbing imagery which characterized their films.

When Lynch's first feature film, 1977's Eraserhead, brought Lynch to the attention of producer Mel Brooks, he soon found himself in charge of the $5 million film The Elephant Man for Paramount. Though Eraserhead was strictly an out-of-pocket, no-budget, independent film, Lynch made the transition with unprecedented grace. The film was a huge commercial success, and earned eight Academy Award nominations, including Best Director and Best Adapted Screenplay nods for Lynch. It also established his place as a commercially viable, if somewhat dark and unconventional, Hollywood director. Seeing Lynch as a fellow studio convert, George Lucas, a fan of Eraserhead and now the darling of the studios, offered Lynch the opportunity to direct his next Star Wars sequel, Return of the Jedi. However, Lynch had seen what had happened to Lucas and his comrades in arms after their failed attempt to do away with the studio system. He refused the opportunity, stating that he would rather work on his own projects.[1]

Lynch instead chose to direct a big budget adaptation of Frank Herbert's science fiction novel Dune for Italian producer Dino De Laurentiis's De Laurentiis Entertainment Group, on the condition that the company release a second Lynch project, over which the director would have complete creative control. Although De Laurentiis hoped it would be the next Star Wars, Lynch's Dune (1984) was a critical and commercial dud, costing $45 million to make, and grossing a mere $27.4 million domestically. The producer was furious that he would now be forced to allow Lynch to make any kind of film he wanted. He offered Lynch only $6 million, reasoning that it would be best to let it be a small flop and be rid of the director. However, the film was a resounding success.

Lynch subsequently returned to his independent roots, and did not work with another major studio for over a decade.

John Waters, on the other hand, proved too hot to handle for the major studios. Distributing his films locally though a production company of his own creation known as Dreamland Productions, Waters defied the mainstream completely until the early 80s, when the fledgling New Line Cinema agreed to work with him on Polyester. During the 80s, Waters would become a pillar of the New York based independent film movement known as the "Cinema of Transgression," a term coined by Nick Zedd in 1985 to describe a loose-knit group of like-minded New York artists using shock value and humor in their work. Other key players in this movement included Kembra Pfahler, Casandra Stark, Beth B, Tommy Turner, Richard Kern and Lydia Lunch. Rallying around such institutions as the Film-Makers' Cooperative and Anthology Film Archives, this new generation of independents devoted themselves to the defiance of the now-establishment New Hollywood, proposing that "all film schools be blown up and all boring films never be made again."[2]

[edit] The Sundance Institute

Main article: Sundance Institute

In 1978, Sterling Van Wagenen and Charles Gary Allison, with Chairperson Robert Redford, (veteran of New Hollywood and star of Butch Cassidy and the Sundance Kid) founded the Utah/US Film Festival in an effort to attract more filmmakers to Utah and showcase what the potential of independent film could be. At the time, the main focus of the event was to present a series of retrospective films and filmmaker panel discussions; however it also included a small program of new independent films. The jury of the 1978 festival was headed by Gary Allison, and included Verna Fields, Linwood Gale Dunn, Katherine Ross, Charles E. Sellier Jr., Mark Rydell, and Anthea Sylbert.

In 1981, the same year that United Artists, bought out by MGM, ceased to exist as a venue for independent filmmakers, Sterling Van Wagenen left the film festival to help found the Sundance Institute with Robert Redford. In 1985, the now well-established Sundance Institute, headed by Sterling Van Wagenen, took over management of the US Film Festival, which was experiencing financial difficulties. Gary Beer and Sterling Van Wagenen spearheaded production of the inaugural Sundance Film Festival which included Program Director Tony Safford and Administrative Director Jenny Walz Selby.

In 1991, the festival was officially renamed the Sundance Film Festival, after Redford's famous role as, The Sundance Kid. [4]. Through this festival, such notable figures as Kevin Smith, Robert Rodriguez, Quentin Tarantino, Paul Thomas Anderson, Steven Soderbergh, James Wan and Jim Jarmusch garnered resounding critical acclaim and unprecedented box office sales. In 2005, about 15% of the U.S. domestic box office revenue was from independent studios.[5]

[edit] Present day and digital filmmaking

Today, due to the large volume of inexpensive, high end digital film equipment available at the consumer level, independent filmmakers are no longer dependent on major studios to provide them with the tools they need to produce a film. Post production has also been simplified by non-linear editing software available for home computers. While most of the current U.S. film industry is located in Los Angeles, one-third of all independent films in the U.S. are still produced in New York City, where the first independent filmmakers began the resistance to the Edison Trust.[citation needed]

Presently, all five of the Golden Age majors continue to exist as major Hollywood studio entities through 2008. Their output is still marked by familiar stories and conservative choices in cast and crew. Companies such as Lucasfilm continue to exist, co-financing their productions and partnering with Big Six studios for distribution. In fact, co-financing has become a growing trend in modern day Hollywood, with over two-thirds of the films put out by Warner Bros. in 2000 being funded as joint ventures, up from 10% in 1987.[6]

In an effort to cash in on the present day boom in independent film, today's Big Six major studios, have created a number of independent-flavored subsidiaries, designed to develop less commercial, more character driven films which appeal to the growing art house market. These include MGM, UA (under MGM), New Line Cinema, HBO Films, Castle Rock Entertainment, DreamWorks SKG, Sony Pictures Classics, Fox Searchlight, Miramax Films, Warner Independent, Picturehouse, Paramount Classics/Paramount Vantage, Go Fish Pictures (under DreamWorks), Focus Features, Screen Gems, TriStar Pictures, Destination Films, Fox Faith, Fox Atomic, Hollywood Pictures, and Rogue Pictures.

The increasing popularity and feasibility of low-budget 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, Little Miss Sunshine, or Juno. 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)

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, ACE 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.

The following studios are considered to be the most prevalent of the modern independent studios (they are used to produce/release independent films and foreign-language films in America):

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 , and Fox Searchlight belongs to the same company that owns 20th Century Fox.

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.

[edit] Technology and independent films today

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.

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.[6] 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.[7][8][9]

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

Mac OS X

Windows

Linux

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.

[edit] 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; Brownworth, Victoria (1997). Film Fatales: Independent Women Directors. Seal Press. ISBN 1-878067-97-4. 
  • 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. 
  • Pierson, John (2004). Spike Mike Reloaded. Miramax Books. ISBN 1-4013-5950-7. 
  • Levy, Emanuel (2001). Cinema of Outsiders: The Rise of American Independent Film. NYU Press. ISBN-13 978-0814751244. 

[edit] See also

[edit] References

  1. ^ "La-La Land: The Origins" Peter Edidin. New York Times. New York, N.Y.: Aug 21, 2005. pg. 4.2. "Los Angeles's distance from New York was also comforting to independent film producers, making it easier for them to avoid being harassed or sued by the Motion Picture Patents Company, a k a the Trust, which Thomas Edison helped create in 1909."
  2. ^ Siklos, Richard (March 4, 2007). Mission Improbable: Tom Cruise as Mogul. New York Times
  3. ^ History
  4. ^ Lauren David Peden (December 2005). Sundance Subdued. Freedom Orange County Information (coastmagazine.com). Retrieved on 2007-11-11.
  5. ^ MPAA data from January to March 2005
  6. ^ a b Sharing Pix is Risky Business variety.com. Retrieved June 23, 2007.
  7. ^ HD DVD Digest: Indie Terwilliger Jumps Into HD DVD with 'Romance of Flying'. October 4, 2006
  8. ^ HighDef Magazine: 34 to 24 on AJA KONA. Page 34, Jan/Feb 2007
  9. ^ One Six Right ..1st indie film on HD-DVD. anybody seen this yet?. AVS.com user forum, March 9, 2007

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