Home Cultural Studies 1. WOMEN MAKE MOVIES: CHICKEN & EGG PICTURES, GAMECHANGER FILMS AND THE FUTURE OF FEMALE INDEPENDENT FILMMAKING
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1. WOMEN MAKE MOVIES: CHICKEN & EGG PICTURES, GAMECHANGER FILMS AND THE FUTURE OF FEMALE INDEPENDENT FILMMAKING

  • Sarah E. S. Sinwell
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Indie Reframed
This chapter is in the book Indie Reframed
© 2022, Edinburgh University Press, Edinburgh

© 2022, Edinburgh University Press, Edinburgh

Chapters in this book

  1. Frontmatter i
  2. CONTENTS v
  3. LIST OF ILLUSTRATIONS viii
  4. ACKNOWLEDGEMENTS ix
  5. NOTES ON THE CONTRIBUTORS x
  6. INTRODUCTION Linda Badley, Claire Perkins and Michele Schreiber 1
  7. PART I. PRODUCTION AND DISTRIBUTION CONTEXTS
  8. 1. WOMEN MAKE MOVIES: CHICKEN & EGG PICTURES, GAMECHANGER FILMS AND THE FUTURE OF FEMALE INDEPENDENT FILMMAKING 23
  9. 2. KILLER FEMINISM 36
  10. 3. ‘A WOMAN WITH AN ENDGAME’: MEGAN ELLISON, ANNAPURNA PICTURES AND AMERICAN INDEPENDENT FILM PRODUCTION 54
  11. 4. SUSAN SEIDELMAN’S CONTEMPORARY FILMS: THE FEMINIST ART OF SELF-REINVENTION IN A CHANGING TECHNOLOGICAL LANDSCAPE 70
  12. 5. ‘I’M ABSOLUTELY THE RIGHT PERSON FOR THIS JOB’: ALLISON ANDERS AND MARY HARRON ON LIFETIME TELEVISION 87
  13. PART II GENRES AND MODALITIES
  14. 6. GENDER, GENRE AND MORE GENERAL INDIE DIMENSIONS IN MEGAN GRIFFITHS’ THE OFF HOURS AND EDEN 107
  15. 7. DOWN TO THE BONE: NEO-NEOREALISM AND GENRE IN CONTEMPORARY WOMEN’S INDIES 121
  16. 8. MY EFFORTLESS BRILLIANCE: WOMEN’S MUMBLECORE 138
  17. 9. BLACK WOMEN, ROMANCE AND THE INDIEWOOD ROM COMS OF SANAA HAMRI 154
  18. PART III IDENTITIES
  19. 10. FROM DOCUMENTARY TO FICTIONAL REALISM: MIRA NAIR’S DOCUMENTARY ROOTS, FICTIONAL HOME AND PRODUCTION POLITICS 171
  20. 11. HAVING ITS CAKE AND EATING IT TOO: CONTEMPORARY AMERICAN ‘INDIE’ CINEMA AND MY BIG FAT GREEK WEDDING REFRAMED 188
  21. 12. NOT JUST INDIE: A LOOK AT FILMS BY DEE REES, AVA DUVERNAY AND KASI LEMMONS 204
  22. 13. SEXUAL IN-BETWEENER/INDUSTRY IN-BETWEENER: THE CAREER AND FILMS OF LISA CHOLODENKO 221
  23. 14. MIRANDA JULY AND THE NEW TWENTY-FIRST-CENTURY INDIE 239
  24. PART IV COLLABORATIONS
  25. 15. MUTUAL MUSES IN AMERICAN INDEPENDENT FILM: CATHERINE KEENER AND NICOLE HOLOFCENER, MICHELLE WILLIAMS AND KELLY REICHARDT 257
  26. 16. THE FEMINIST POLITICS OF COLLABORATION IN LENA DUNHAM’S TINY FURNITURE 276
  27. 17. THE DIRECTOR AS FACILITATOR: COLLABORATION, COOPERATION AND THE GENDER POLITICS OF THE SET 288
  28. 18. BEYOND THE SCREEN: ON CONTEMPORARY FEMINIST MEDIA RE-ARTICULATIONS 304
  29. INDEX 319
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