Bubble #2 (Reading Response 2: Due 1/20)

Jim Hillier, “US Independent Cinema since the 1980s” [Contemporary American Cinema, p. 247-264]

1. What have been the various uses of the term “independent” in American cinema since the 1947 Paramount Decree, and what are some of the broad characteristics of so-called independent cinema of the 1980s and 1990s?

The term “independent” — when applied to film — has been defined to varying degrees since the late 1940’s-1950’s when “independent” referred to films, usually avant-garde, that were produced and distributed without the financial help of big time studios. These films didn’t follow your usual narrative structure and they were not designed to screen in your average theatre. As John Cassevetes began making independent films in the 1950’s-1960’s, this framework was presented in his films. As “independent cinema” evolved into the 1980’s-1990’s, new characteristics began to form, such as different and unusual story lines with controversial subject matter, distinctive styles of narration and editing techniques, and an escape from the misconception that a “good film” relies on big stars, special effects, and a happy ending.

2. What impact did home video and cable television have on independent film production in the 1980s, and which studios and distributors emerged in this period? Describe the “continuum” suggested by Hillier to describe the range of producers and studios associated with independent film.

With the introduction of home video and cable television in the 1980’s, the distribution of independent cinema became a reality, rather than a hopeful dream, for producers and filmmakers alike. Canon, Vestryn, Goldwyn, and New Line were some of the emerging distribution companies that were a step ahead of the major studios with the distribution market, allowing independent films and studio films to be screened by thousands in the comfort of their own homes. In speaking about the “continuum”, though these studio films and independent films were distributed by these companies with similar intentions (making money), the products themselves were very different from one another, all coming from different producers, directors, and styles.

3. What were the two consensus “defining moments” for American independent cinema in the 1980s and 1990s, and what where the consequences of those films? How did the films affect the relationship between independent studios and the larger Hollywood industry? Which major studio subsidiaries became associated with independent production in the 1990s and 2000s (with Disney, Time Warner, Sony, Fox, Universal, Paramount)?

The two defining moments of independent cinema in the 1980’s and the 1990’s were the critical success of “independent” films sex, lies, and videotape and Pulp Fiction. Concerning sex, lies, and videotape, a consequence that has been brought up is that the film set a benchmark for independent filmmakers, a benchmark that cannot be met. In the case of Pulp Fiction, it is a film that possesses an indistinguishable “independent” quality, considering the film had financial backers and an all-star cast, hence blurring the lines of Hollywood blockbuster and independent cinema. During the 1990’s and 2000’s, studios like Disney and Fox Searchlight became involved in independent projects such as The Royal Tenenbaums and Boys Don’t Cry, respectively. This involvement suggested that “independent cinema” was becoming more of an image to uphold in the eyes of studios, rather than the artistic approach it really is.

4. In the Miramax sidebar: How did the evolution of Miramax help blur the definition between “independent” and “studio” productions?

Miramax, a big time studio, began financing and distributing films of the mainstream and independent caliber, therefore blurring the lines on what films are considered Hollywood blockbuster and art-house avant-garde.

5. How does Hillier describe the career trajectory of Gus Van Sant in 2001, and how does he re-evaluate his assessment in this more recent article?

Hillier suggests that, according to his career trajectory, Van Sant has infiltrated into the mainstream, and more recently, is returning to his “indie” roots. Hillier reconsiders his claim and goes on to suggest that perhaps this is not a return to any previous style, but instead the birth of a third phase in Gus Van Sant’s career as a contemporary artist.

Kristin Thompson, “Modern Classicism”

1. What are the characteristics of “post-classical” filmmaking, and why does Thompson disagree with the term as a description of recent filmmaking practices? How does Thompson use Jaws to support her argument?

Post-classical refers to the approach to filmmaking that remained once the auteur theory and its practitioners came about in the 1960’s. The approach differed from the classical style in that it did not follow the usual narrative structure nor did it employ psychologically developed characters. Thompson does not believe this term can be applied to todays films because “post-classical” was simply a detour on the Hollywood map, though it has had it’s lingering effects.

2. What specific techniques do Hollywood narratives use to achieve clarity and unity?

With the use of continuity editing, cause and effect narration, set design, and lighting, filmmakers were able to create an environment that aided in the clarity and unity of the narration.

3. What are the characteristics of Thompsons four large-scale parts of Hollywood narratives, and how do they help her provide a more nuanced analysis of the script of Terminator 2 than Syd Field’s three-act approach?

The characteristics of Thompsons “four large-scale” approach to narrative are the setup, complicating action, development, and climax.

4. Attempt to break down the structure of Even Cowgirls Get the Blues according to Thompson's model.

In applying Thompson’s model to Even Cowgirls Get The Blues, I found that the following are the four large scale parts to the film....

Setup- introduction of Sissy, her birth defect, and her deep obsession with hitchhiking, The Countess sends Sissy to The Rubber Rose

Complicating Action- The Cowgirls are introduced and rebel against The Rubber Rose Ranch in hopes of saving the whooping crane

Development- Sissy develops a romantic relationship with Bonanza Jellybean which interferes with her mission (commercial) at The Rubber Rose. The cowgirls continue to hold their ground, and Sissy meets “The Chink”. Sissy wants to be normal and has her right thumb fixed, only to discover that hitchhiking is no longer as easy as it used to be.

Climax- The queen gets her third vision she was promised and the cowgirls give up the fight. Bonanza Jellybean approaches the front lines and is shot down by the police, where Sissy is given her last chance to say goodbye to Bonanza Jellybean. The whooping crane fly away.

Epilogue- Sissy visits “The Chink” in the hospital and decides to remain a cowgirl.