Reading Response 2: Due January 20

Reading Response 2: Due January 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 1947 Paramount Decree was designed to encourage independent production, and many stars established their own production companies. Many of the financing was received from less conventional sources than a major film would, as some of these films “were not intended for showing in regular theatres.”

A few broad characteristics of the “independent” cinema of the 1980s and 1990s include: aiming at a “niche” audience, having their own “stylized camera work, editing, or narrative organization”, usually made and distributed outside of major “studios.”

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?

With revenue decreasing from independent films, heading toward more home video and cable TV, production companies headed toward a more conventional approach of narrative style and content targeted at a “youthful” audience.

Describe the “continuum” suggested by Hillier to describe the range of producers and studios associated with independent film.

Gradually, an increase of production companies moved more to being “partial independents” dabbling with major studios to fund their films. Vestron, New Line, and Cinecom, Miramax, Circle, and Goldwyn were also reaching out to major studios for funding their “art cinema.”

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?

The two “defining moments” was the success at the Sundance Film Festival in 1989 “Sex, Lies and Videotape” and winning “best film” at the Cannes Film Festival, and the major success of Tarantino’s Pulp Fiction. A Pulp Fiction phenomenon was started, and critics argue about the movie even being an “independent” film with the star power of John Travolta and Bruce Willis, creating a blur between the boundary of Hollywood films and Independent films.

Which major studio subsidiaries became associated with independent production in the 1990s and 2000s (with Disney, Time Warner, Sony, Fox, Universal, Paramount)?

Fox Searchlight, Disney’s owned Miramax, Time Warner’s – New Line, Fine Line, and Castle Rock, and Sony’s – Red Mullet (Screen Gems).

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

When the major companies were purchasing a lot of independent films, it is noted that the “independent” became “dependent” on the major companies to help finance them, thus taking away from what being an “independent” film would suggest, which is the ability to produce and distribute independently of major studios. The success with some of Miramax’s “independent” films, like Pulp Fiction, Sex Lies and Videotapes, and The Crying Game acted as (a shot in a million) examples of what other “independent” films could perhaps become, a sort of false hope and relying less on themselves.

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 describes Gus Van Sant's career moving from “indie” to more corporation in 2000, with a short-term visit back to “indie” with his films such as Gerry and Elephant. Hillier feels that the two movies, Gerry and Elephant, could be considered more a “new phase for Van Sant rather than a return to his independent beginnings.”

Kristin Thompson, “Modern Classicism”

6. What are the characteristics of “post-classical” filmmaking, and why does Thompson disagree with the term as a description of recent filmmaking practices?

According to Kristin Thompson's article, Hollywood has lost its ability for story telling. Kristin explains that "post-classical" filmmaking began, 1970s, to be more based on an "'auteur' label" that was brought about by a "youthquake" of such directors as George Lucas, Steven Spielberg, and Martin Scorsese. Some critics argue that the new Hollywood is different from classical Hollywood because of the change in editing (faster frame up to 2000 cuts, editing), camera movements or angles and the lack of mainstream complexity, "America's Scariest Police Chases". However, Kristin argues that Hollywood is still using the same cause and effect motivation, goal oriented movies since the early 1900's.

How does Thompson use Jaws to support her argument?

Kristin uses Jaws as an example of how classical story telling is still used in some of the most classic movies along. She states, "if a character behaves in a way that is contrary to his or her traits, the classical narrative will offer some explanation." Chief Brody's fear of water is actually used as to enhance the dramatic emotion behind his goal of being in the water to kill the shark and save his family. Jaws is still using classical cause (he must save his family and community from the killer shark) and effect (he will have to face his fear of the water). Thompson also uses Jaws, an action movie, to discuss the four-part structure of a film. I feel she chose Jaws because it was an action film which some may argue lacks the character development and complexity. However, Thompson demonstrated that Jaws did have 4 part structure, with moments of shark action, but more importantly smaller details (compared to shark attack), such as camaraderie between the men forming a team to defeat the shark, was a turning point, adding goals and new tactics to the storyline.

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

Several stylistic techniques are used for narrative clarity such as:

"Intercutting, distant framing of the action early in a scene to establish the locale and who is present in it, analytical editing of breaking the space into closer framings making the action more comprehensible, match on action, compositions centering around the most important characters/objects, and shot-reverse-shot"

8. 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?

Thompson uses the four-part structure of setup, complicating action, the development, and the climax. Other guidelines are mentioned along with the four-part structure such as turning points, and midpoints. The end of the setup would not be until all parts of the story have a beginning or “structural foundation.” In Terminator Syd ends the first act when “the Terminator rescues John from the T-1000” however Thompson’s 4 part structure feels that the “relationship between the Terminator and John have not been defined.” The Complicating action is getting Sarah out of the Hospital and using the T-1000 to be an immediate threat, (an example of what Fields would consider a plot point), as an indicator moving into the development. With this plot point Thompson is showing that Fields analysis cannot fit into a clear-cut ¼, ½, ¼ pattern.

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

Using Thompson’s four-part structure, Even the Cowgirls Get the Blues, 120 minutes, can be broken up into the following part:

The Setup would consist of introducing all of the main characters, Sissy, The Countess, Debbie, Deloris, and Bonanza Jellybean and establishing their relationship to one another, ending at the 35-minute mark. The Complicating action is centered around Sissy’s loyalty to the Countess and her new found love for Jellybean as the conflict arises over Jellybean leading the cowgirls in their rebellion against the Countess’s control at the Rubber Rose Ranch, ending at their standoff, 48 minutes in to the film. When Sissy meets the Chink is the turning point into the Development, moving the story forward in two different directions, one of the cowgirls keeping the whooping cranes on the ranch, and the other of Sissy going to the Doctor to remove one of her thumbs. Another turning point is when Sissy decides to go back to the ranch to be with her love Jellybean, 76 minutes. Moving into the Climax, Sissy, the police, and the cowgirls are all at the ranch waiting for each other’s next move. The fall of the climax is when Bonanza and Chink are shot and finally the Countess gives the ranch to the Cowgirls, followed by the monologue of the brown paper bag, 120 minutes.