Independent Filmmaking Around the Globe by Doris Baltruschat, Mary P. Erickson

By Doris Baltruschat, Mary P. Erickson

Independent Filmmaking round the Globe calls awareness to the numerous alterations occurring in self sufficient cinema at the present time, as new construction and distribution know-how and moving social dynamics make it an increasing number of attainable for self sustaining filmmakers to provide motion pictures open air either the mainstream international movie and their very own nationwide movie platforms. determining and reading the various complicated forces that form the creation and distribution of function movies, the authors aspect how autonomous filmmakers create paintings that displays autonomous voices and demanding situations political, financial, and cultural constraints.

With chapters at the under-explored cinemas of Greece, Turkey, Iraq, China, Malaysia, Peru, and West Africa, in addition to conventional construction centres reminiscent of the USA, the uk, Canada, and Australia, Independent Filmmaking round the Globe explores how modern self sufficient filmmaking more and more defines the worldwide cinema of our time.

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Independent film productions such as Do the Right Thing and Mystery Train (Jim Jarmusch). The film won the Palme d’Or that year, amidst great media hype. S. theatrical box-office gross of approximately $25 million. It also performed particularly well on the international theatrical market, grossing a total of $12 million (Nash Information Services 2013). The film was released in, among other countries, France, Sweden, Germany, Australia, Japan, and the Netherlands (Internet Movie Database 2012), which, together with the United Kingdom and Spain, made up 85 per cent of American foreign sales, including home video and television, in the early 1990s (Wiese 1992, 94).

The gradual entrance of these mini-majors into the independent sector inevitably changed the rules of the game. Supported by the deep pockets of their parent companies, the studios’ specialty film divisions turned to film production with a greater focus on commercial elements and higher production and marketing costs (Tzioumakis 2012b, 10–12). Although many of the productions were financed by corporate capital provided by the parent company, the specialty divisions also started progressively to exploit opportunities for partnerships and collaborations on a global scale, effectively through co-financing arrangements and co-production.

S. independent cinema’s history, lowbudget, low-key, high-quality films were rarely distributed or shown outside of North America. As the vast majority of these films were financed, produced, and distributed outside of Hollywood’s influence, their exposure was limited to the festival circuit and, from there and via the services of international sales representatives, potentially to distribution deals with a handful of regional or local distributors. A small number of films were also represented in film fairs and showcases like MIFED (Mercato Internazionale Filme e Documentario) in Milan (1980–) and the Marché du Film, the official film market of the Cannes Film Festival.

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