First draft of an article

 

Independent filmmaking

 At the end of 1980s,  independent film got out of the wee “art houses” (specialized theaters) of some big American cities and planted itself a prominent appearance in society culture. Independent filmmakers see themselves as challenging the domination of Hollywood, avoiding entertainment—fantasy, enjoyment, happy endings—and instead suggesting abrupt and “edgy” narratives about life in modern society. This article will discuss the origins, development and importance of independent filmmaking . I will critically analyse differences between studio films and independent films. I will look at examples of Avant-Garde [1] cinema and experimental film and discuss this in relation to independent filmmaking. At the end of my article I will include ‘top 5 independent films to watch’ to encourage people to watch independent films.

 

“Hollywood” as both fantasy and material reality exercised control over the world of American entertainment for the whole twentieth century. However from the beginning in the backward  of the industry, there were challenges to Hollywood domination, with different trials to establish variable places of film-making outside of the major studios. What does independent film mean? The easiest way to start is to say that an independent film is defined—to different degrees and in different ways—as the polarity of a Hollywood studio film. The importance of independent filmmaking could be seen in a diversity of comparatively aimed detectors. Where studio movies are very expensive, independent films are produced on comparably low budgets; where studio movies are in the business of “entertainment,” independent films frequently expound to challenge their audience with comparatively complex topic or techniques or both; where Hollywood films basically avoid being  on someone’s side in politics, independent films are oftentimes expressly political and critical; where Hollywood films are in the occupation of fantasy and illusion, independent films turn on actually all documentary movies, and even particular qualities are commonly extremely realistic; and after all, where Hollywood films classically have happy endings, independent films infrequently do it. For example, filmmaker Karen Moncrieff (e.g., The Dead Girl said, “I’ m interested in movies that make people feel something, and that’s what I gravitate toward. I like to be pushed off my center when I go to the movies. I like to be invited to feel and think” (Moncrieff n.d., circa 2006). Rodrigo García, in the interview discussed earlier, made similar comments about “how a film needs to make demands on you, and throw you off balance” (fieldnotes February 10, 2007). 

 

Two warnings should instantly be entered here. In the first place, all references to “Hollywood films” should  be understood as referring to the big-money-making films that are the bread-and-butter of the Hollywood studios. I do not want to suggest that Hollywood has never made a film with complex characters, or innovative politics, or complex topics. However these films have always been in the infancy within the summary Hollywood outcome, while they tend to be the better part of independent films. Secondly, it should be understood that there is a spectrum of what is seen as an independent film, with a more Hollywood-y end of the spectrum and a more drastically avant-garde and experimental end. For nowadays goals, however, I write as if there were a clear twin offset among the two ideal types, and use the above text of true indie characteristics—low budget, complex topic, multiple happy endings, et cetera—to afford some simple regulations of thumb for differentiating an independent film (an “indie”) from a “Hollywood” or “studio” film. Here is seven steps to developing an indie movie: find the script (all films, regardless of the budget, start with a script);sort your budget (once you have your story, figure out how much money it’ll cost),hire your crew; get your cast; prep your shoot days; mind the post-production; submit to film festivals (Masterclass,2021)

As an onwards help to portraying the indie object, I present here the Top 5 independent films to watch:

·         Mean Streets (1973)

·         Reservoir Dogs (1992)

·         Donnie Darko (2001)

·         The Terminator (1984)

·         Evil Dead II (1987)

Furthermore to these feature (i.e., fiction) films, actually all experimental movies are independent films. With unusual exclusions, Hollywood studios do not make experimental films as an accomplishment mandate to entertain. Experimental and avant-garde film the same as independent film is cinema made outside of the film industry. They are on an artisanal ground, substantially  without attention to the structures and requirements of traditional narrative movies. Whereas experimental film as a detached mode of movie practice is international, its most extended demonstrations were in western Europe before World War II and North America and Britain in the post-war period. Avant-garde film is often made in the relation of the greater art world, especially in correlation to the visual arts and literature. It is also oftentimes made as a critique of predominant, classical Hollywood film and functions in context to political movements and actions, such as feminism. Albeit experimental films present multiplicity structures, lengths, and concerns, filmmakers have traditionally preferred 8 mm and 16 mm formats. Presently, directors are using video and new media of all prospects plus containing film in bigger multimedia settings. Erudition and writing about experimental film run the scale from profoundly private and inadvertent in tone to extremely tight and conceptual. 

 

In conclusion, I would like to  say that this article  describes the importance of independent filmmaking and clarifies the main points of differences among studios and independent films. The first grade may be called the grade of cultures and practice: independent filmmaking discern itself as distinct from or better than Hollywood in its ethos and practices of making movies, concretely in terms of the profitable conception of the studios and the comparatively unprofitable conception of independent filmmaking. Another grade concerns the nature of the movies themselves in the two worlds. Here  is a critique of the stereotypical Hollywood movie not only as informed foremost by the profitable conception, however as well by a comparatively undoubted attitude to the predominant or mainline culture. Research about Avant – Garde and experimental films showed that most or all of them are independent films and are filmed outside of the studio. Avant-garde filmmakers experimenting with genres, they sometimes use the lack of film language ,they represent a new reality that the audience happily greets, which always expects something incredible from filmmakers. Overall, this has enabled me to deeply understand the importance of developing independent cinematography.

 

References

Film theory (2014) ‘Avant-Garde’ [Online] Available at: www.filmtheory.org  [Accessed:05.09.2021].

 

Nair, M. (2021) ‘How to make an Independent Film: Step-by-Step Guide’. [Online] Available at: www.masterclass.com [Accessed:05.09.2021].

 

Nonetwork (2021) ‘What is a non-linear narrative and how do you write one?’ [Online] Available at: www.nofilmschool.com  [Accessed:05.09.2021].

 

Stitney,P. (2002). ‘Visionary film: the American avant-garde,1943-2000’. New York. Oxford: Oxford university press.

 

Valentini, V.(2020) ‘24 of The Best Indie Movies of All Time’.[Online] Available at: www.esquire.com   [Accessed:05.09.2021].

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[1] Avant-Garde cinema this is kind of independent cinema and made outside of the film industry. The films explore issues of time, space, dreams, fantasy, and perception.