Independent Filmmaking after 1994:

2020 ◽  
pp. 73-106
Keyword(s):  
Independent Filmmaking

Argentina: Introduction

2018 ◽  
Author(s):  
Dolores Tierney
Keyword(s):  
Introductory Section ◽  
Transnational Media ◽  
Neoliberal Reforms ◽  
Media Conglomerates ◽  
The Government ◽  
Independent Filmmaking ◽  
New Argentine Cinema

This introductory section and its account of the significant changes in Argentine filmmaking in the last twenty five years acts as a platform to the director-centred analyses of Juan José Campanella’s films in Chapter 6. It situates Campanella and his filmmaking practice as typical of one vector of Argentina’s changed filmmaking landscape (the ‘industry auteurs’ produced through the neoliberal reforms to the industry in the 1990s and fostered by transnational media conglomerates) but also addresses the vibrant independent filmmaking movement (the New Argentine Cinema) also a by- product of the 1990s reforms and fostered by the government and transnational funding bodies.

Argentine Cinema in the Late 1950s and Early 1960s

2018 ◽  
Author(s):  
Carolina Rocha
Keyword(s):  
Film Industry ◽  
Domestic Market ◽  
Discursive Practice ◽  
Film Production ◽  
Trial And Error ◽  
American Films ◽  
State Directors ◽  
Studio System ◽  
Independent Filmmaking

Relying on Valentina Vitali and Paul Willemen’s statement that ‘both as an industry and a discursive practice, cinema is an adjunct of capitalism’ (2006, 7), I explain that to offset competition from American films, the Argentine state persistently sought to protect national film production through several laws, the most crucial of which was Law 62/57. Nevertheless, in the transition from the studio system to independent filmmaking, the Argentine film industry had an uneven success in its attempt to gain a considerable share of the domestic market. Through trial and error, the Argentine state, directors, and producers came up with different solutions to strengthen the production and circulation of national films, which in many cases were resisted by exhibitors and distributors.

History before and behind the Camera: An Interview with Renee Tajima-Peña

2020 ◽  
Vol 74 (1) ◽  
pp. 21-29
Author(s):  
Denise Khor
Keyword(s):  
Asian Americans ◽  
Asian American ◽  
American Media ◽  
History Of ◽  
Radical History ◽  
Independent Filmmaking

On the occasion of the highly anticipated PBS/WETA documentary, Asian Americans, Denise Khor offers a comprehensive career overview of Renee Tajima-Peña, executive producer of the landmark series. Tajima-Peña is best known for her work as a director on films including Who Killed Vincent Chin? (1987, with Christine Choy) and My America… or Honk if you Love Buddha (1997), but her behind-the-scenes, institutional achievements are also significant. As the co-founder of NAATA/CAAM (Center for Asian American Media) and the first paid director of Asian CineVision, Tajima-Peña developed some of the most important organizational infrastructures to support independent Asian American filmmaking. Khor's interview with the filmmaker looks back at the radical history of independent filmmaking by Asian Americans and the sorts of filmmaking practices and collaborations shaping Tajima-Peña's past and present documentary work.

scholarly journals Shadows Illuminated. Understanding German Expressionist Cinema through the Lens of Contemporary Filmmaking Practices

2019 ◽  
Vol 16 (1) ◽  
pp. 103-126
Author(s):  
Gerald Saul ◽  
Chrystene Ells
Keyword(s):  
Motion Picture ◽  
First Century ◽  
Art Cinema ◽  
Twenty First Century ◽  
Independent Filmmaking

Abstract The article looks at German Expressionist cinema through the eyes of contemporary, non-commercial filmmakers, to attempt to discover what aspects of this 1920s approach may guide filmmakers today. By drawing parallels between the outsider nature of Weimar artist-driven approaches to collaborative filmmaking and twenty-first-century non-mainstream independent filmmaking outside of major motion picture producing centres, the writers have attempted to find ways to strengthen their own filmmaking practices as well as to investigate methods of re-invigorating other independent or national cinemas. Putting their academic observations of the thematic, technical, and aesthetic aspects of Expressionist cinema into practice, Ells and Saul illustrate and discuss the uses, strengths, and pitfalls, within the realm of low-budget art cinema today.

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