American Independent Cinema

Yannis Tzioumakis is Lecturer in Media and Communication Studies at the University of Liverpool. His research specialises in American independent cinema and the business of media entertainment. His books include American Independent Cinema: An Introduction (EUP, 2006), The Spanish Prisoner (EUP, 2009), and Greek Cinema: Texts, Histories Identities (Intellect, 2011).

Introduction: Problems of Definition and the Discourse of American Independent Cinema

PART ONE: AMERICAN INDEPENDENT CINEMA IN THE STUDIO YEARS (mid-1920s-late 1940s)

Chapter One: Independent Filmmaking in the Studio Era: Tendencies within the Studio System
Introduction
The First Independents
Independents before the Formation of the Studios
Independents at the Age of Oligopoly
The First Period (mid-/late 1920s 1939)
Economic Constraints
Independent Production vs. Studio-Unit Production
Some Economic Opportunities
The Second Period (1940 - 1948)
The Industry Wide Shift
The End of the War Boon
Conclusion

Chapter Two: Independent Filmmaking in the Studio Era: The Poverty Row Studios (1930-1950)
Introduction
Monogram Pictures
Republic Pictures
Grand National Films
Independent B Films vs. Studio B Films
Producers Releasing Corporation
Upgrading the Product
The Decline of the B Film Market
Conclusion
Beyond Poverty Row: Ethnic Films

PART TWO: THE TRANSITIONAL YEARS (late 1940s-late 1960s)

Chapter Three: Independence by Force: The Effects of the Paramount Decree on Independent Film Production
Introduction
The Paramount Decree
The Postwar Recession
Identity Crisis
The United Artists' Revival
Independent Production: The United Artists Way
Production
Distribution
The Reasons Behind the Success
The Triumph of A Brand of Independent Production and of the Majors
Conclusion

Chapter Four: An Audience for the Independents: Exploitation Films for the Nation's Youth
Introduction
The Emergence of the Teenager and the Rise of Youth Audience
From Poverty Row to Exploitation and Showmanship
The Era of the Drive In Theatres
Low-end Independents against Television
The Exploitation Teenpic and the Companies Behind It
Sam Katzman
American International Pictures
Embassy Pictures
William Castle Productions
Roger Corman and the Filmgroup
The Majors and the Low-Budget Exploitation Market
Conclusion

PART THREE: CONTEMPORARY AMERICAN INDEPENDENT CINEMA (late 1960s - to date)

Chapter Five: The New Hollywood and the Independent Hollywood
Introduction
The New American Cinema
The Influence of John Cassavetes
The New Hollywood
Conclusion

Chapter Six: American Independent Cinema in the Age of the Conglomerates
Introduction
Raising the Stakes
Economic Opportunities in the Low-budget Independent Sector (late 1960s- 1974)
The End of Exploitation as We Know It
The Gradual Rise and Rapid Fall of American International Pictures
From the Theatrical to the Video Market
A New Hope: The Birth of the New American Independent Cinema
Conclusion

Chapter Seven: Mini-Majors and Major Independents
Introduction
A Star Is Born
The New Orion Constellation
The Shining Star
The Fading Star
The Last Bonfires
The Fall
Conclusion

Chapter Eight: The Institutionalisation of American Independent Cinema
Introduction
A Business of Co-dependents
Institutional Framework (1) Organisations Dedicated to Supporting Independent Filmmaking, Finance Opportunities and Independent Distributors
Institutional Framework (2) The Classics Divisions
The Aesthetics Factor
Conclusion

Chapter Nine: American Independent Cinema in the Age of Convergence
Introduction
The Success of Indiewood
The Studio Pullout from the Specialty Film Sector and the Demise of Miramax
Regeneration: Digital Film Production, Distribution and Exhibition in the Margins
Independent Film in the Age of Social Media
Conclusion: A Converged American Independent Cinema?

New Epilogue: From Independent to "Specialty" Cinema
BIBLIOGRAPHY
ENDNOTES