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An enormous burst of creative production has recently emerged from American "independent" filmmakers. From Stranger than Paradise (1984) and Slacker (1991) to Miranda July's Me and You and Everyone We Know (2005), indie cinema has become part of mainstream American culture. But what makes these films independent? Me and You and Memento and Fargo argues that the American independent feature film from the 1980s to the present has developed a distinct approach to filmmaking, centering on new conceptions of cinematic storytelling. One consequence of this is to show the uniqueness of this phenomenon by positioning it as a hybrid form that exists somewhere between the classical Hollywood tradition and "art cinema." Zusammenfassung Within the last twenty-five years, an enormous burst of creative production has emerged from independent filmmakers. From Stranger than Paradise (1984) and Slacker (1991) to Gus Van Sant's Elephant (2003) and Miranda July's Me and You and Everyone We Know (2005), indie cinema has become part of mainstream culture. But what makes these films independent? Is it simply a matter of budget and production values? Or are there aesthetic qualities that set them off from ordinary Hollywood entertainment? In this groundbreaking new study, J.J. Murphy argues that the independent feature film from the 1980s to the present has developed a distinct approach of its own, centering on new and different conceptions of cinematic storytelling. The film script is the heart of the creative originality to be found in the independent movement. Even directors noted for their idiosyncratic visual style or the handling of performers typically originate their material and write their own scripts. By studying the principles underlying the independent screenplay, we gain a direct sense of the originality of this new trend in American cinema. Me and You and Memento and Fargo also presents a unique vision for the aspiring screenwriter. Most screenwriting manuals and guidebooks on the market rely on formulas believed to generate saleable Hollywood films. Many writers present a "three-act paradigm" as gospel and proceed to lay down very stringent rules for characterization, plotting, timing of climaxes, and so on, while others who appear to be more open about such rules turn out to be just as inflexible in their advice. Through in-depth critical analyses of some of the most significant independent films of recent years, J.J. Murphy emphasizes the crucial role that novelty can play in the screenwriting process. Inhaltsverzeichnis Introduction 1. The Ambivalent Protagonist - Stranger Than Paradise 2. The Passive Protagonist - Safe 3. Shifting Protagonists - Fargo 4. Multiple Plots and Subplots - Trust 5. Shifting Goals and Plotlines - Gas Food Lodging 6. Ensemble Structure - Me and You and Everyone We Know 7. Flashback Structure - Reservoir Dogs 8. Temporal Complexity - Elephant 9. Puzzle Film - Memento 10. Dream Logic - Mulholland Dr. 11. Free Association - Gummo 12. Character-based Structure - Slacker Conclusion ...
