It’s nothing new to say that the term “independent filmmaking” has come to no longer reference the actual practice of making films outside the studio system, and alerts more directly to an aesthetic of hipness. That the cute-and-quirky consecutive multi-Oscar nominees Little Miss Sunshine and Juno were similarly marketed by Fox Searchlight as “independent films” despite the fact that the former was actually produced independently and the latter was funded by studio dollars, effectively put the nail in the coffin for actual independent filmmaking to have any meaningful visibility. Meanwhile, first-time directors who make their name at Sundance like Marc Webb, Doug Liman, and Seth Gordon quickly reveal themselves to be aspiring directors-for-hire rather than anti-Hollywood renegades. Tom Dicillo, Hal Hartley, and Jim Jarmusch seem ever more like naïve, idealist relics each passing year. It’s clear what the blurring of the lines between independence and studio filmmaking has meant for the mainstream: as my friend...
- 12/18/2012
- by Landon Palmer
- FilmSchoolRejects.com
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