Aesthetic and Thematic Definition of Independent Cinema
Aesthetic and Thematic Definition of Independent Films
"The Official cinema of the world has run out of breath. It is morally corrupt, aesthetically obsolete, thematically superficial, and temperamentally boring." (Lionel R et al, 1960) As a result of this and a great number of other reasons, independent cinema was born. For the most people who have a basic knowledge of American cinema, “independent filmmaking consists of low budget projects made by (mostly) young filmmakers with a strong personal vision away from the influence and pressures of the few major conglomerates that control tightly the American film industry.” (Yannis, 2006:1) In a way, almost all independent cinemas can be seen as more or less rejecting Hollywood’s narrative conventions, sometimes in the pursuit of more styles and different themes. This essay focuses on three films to explore to what extent both the aesthetic and thematic definitions opposite to mainstream cinema.
~ I. Thematic Definition
Independent films develop thematically opposed to what mainstream cinema does. It explores diverse themes including black humor, freedom, rebellion, violence, erotic pleasure and suffering from thinking. While a great number of films were involved in the themes such as blacks, beats, politics and hippies, independent cinema “all carry a subversive message portrayed through subject or style, they cover an enormous range of aesthetic and social concerns.” (Gary, 2000)
Bonnie and Clyde
Bonnie and Clyde, well-known robbers in the depression time, had been depicted in different ways in diverse versions. However, Arthur Penn adopted a comedic style to tell this story with the satire aim to the traditional Hollywood gangster film.
Filmmakers pursued their own styles based on the original making system and worked out totally different styles through the revolution. Bonnie and Clyde seemed like a traditional gangster film, however, it broke the original model that contains the occurrence,
"The Official cinema of the world has run out of breath. It is morally corrupt, aesthetically obsolete, thematically superficial, and temperamentally boring." (Lionel R et al, 1960) As a result of this and a great number of other reasons, independent cinema was born. For the most people who have a basic knowledge of American cinema, “independent filmmaking consists of low budget projects made by (mostly) young filmmakers with a strong personal vision away from the influence and pressures of the few major conglomerates that control tightly the American film industry.” (Yannis, 2006:1) In a way, almost all independent cinemas can be seen as more or less rejecting Hollywood’s narrative conventions, sometimes in the pursuit of more styles and different themes. This essay focuses on three films to explore to what extent both the aesthetic and thematic definitions opposite to mainstream cinema.
~ I. Thematic Definition
Independent films develop thematically opposed to what mainstream cinema does. It explores diverse themes including black humor, freedom, rebellion, violence, erotic pleasure and suffering from thinking. While a great number of films were involved in the themes such as blacks, beats, politics and hippies, independent cinema “all carry a subversive message portrayed through subject or style, they cover an enormous range of aesthetic and social concerns.” (Gary, 2000)
Bonnie and Clyde
Bonnie and Clyde, well-known robbers in the depression time, had been depicted in different ways in diverse versions. However, Arthur Penn adopted a comedic style to tell this story with the satire aim to the traditional Hollywood gangster film.
Filmmakers pursued their own styles based on the original making system and worked out totally different styles through the revolution. Bonnie and Clyde seemed like a traditional gangster film, however, it broke the original model that contains the occurrence,
Bibliography: David, C. (2005) The Dysphoric Style in Contemporary American Independent Cinema, the Florida State University College of Arts and Sciences. Geoff, K. (2005) American Independent Cinema, London: I.B.Tauris. Lionel, R. et al.(1960) New American Cinema Group Manifesto, New York. Nathan, A., Ian, B. and Jan, U. (2001) Studying Film, London, Oxford University Press. Yannis, T. (2006) American Independent Cinema: An Introduction, London, Edinburgh University Press. Gary, M. (2001) American Independent Narrative Cinema of the 60s, [Internet], April, available from:<http://brightlightsfilm.com/27/sixtiescinema1.php> [accessed January 2001]