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ORIGINS OF INDIEWOOD

 

Throughout our research, we found it was important to explore the newly discovered genre called ‘Indiewood’, wherein the lines between Hollywood and independent cinema are blurred. The term evolved from the American film industry of the 90s, the decade in which the industrial phenomenon took place. Films in the ‘Indiewood’ genre tend to combine qualities associated with the independent film sector along with the film qualities attributed to the Hollywood sector. Although ‘Hollywood’ might be a quick generalisation – it is merely a term to indicate the films produced by major studios, all of which are based in Hollywood, LA.

 

According to the research of Indiewood pioneer Geoff King, “[the most] clear-cut institutional base of Indiewood is constituted by indie/speciality-oriented distributors and/or producers owned by the major studio companies: either studio-created subsidiaries or formerly independent operations taken over by the studios”.

 

In other words, Indiewood films are brought to life through small, independent companies that are owned by major Hollywood studios. This has happened in two ways:

 

  • A pre-existing independent film studio is taken over by/made partners with a major film studio (e.g. Miramax bought by Walt Disney Pictures)

  • A major film studio creates a subsidiary studio that specifically focuses on independent film distribution (e.g. Focus Features, created by Universal Studios).

THE PERKS OF INDIEWOOD

 

Since Indiewood films combine a mixture of qualities, they allow for new talent, new direction and most notably an unrestricted time frame for production, since the production is not necessarily ‘in demand’ like a major movie production. Rather than deal with the pressure of a set release date, Indiewood filmmakers are able to work at a leisurely pace. With the inclusion of storylines and characters who somewhat adhere to Hollywood standards, along with an experimental twist or avant-garde element, the film is able to garner much more traction than a standalone independent film.

 

A good example of an Indiewood film is Sam Mendes’ American Beauty (1999), which tells the story of a depressed suburban father who becomes obsessed with his daughter’s attractive best friend. The story ultimately deals with the typical trope of a man going through a ‘mid-life crisis’, however the indiewoodization of American Beauty comes through the filmic techniques, including strikingly unexpected camera angles and an excessive use of the colour red (symbolising passion, hatred, greed and love). Mendes’ auteristic approach to filmmaking is embedded into the film, while the storyline is appealing to viewers who have not yet had a taste of independent cinema.

RESPONDING TO INDIEWOOD

 

While it is a commendable concept, it is by no means perfect.

 

Audiences are comprised of many individuals, each of whom find their own taste in film. Indiewood somehow assumes that a majority of people enjoy films that tend to overuse typical storylines: the star-crossed lovers, the superhero with a big heart or the struggling child of divorce. There is also a small offense at the hands of some independent filmmakers, who feel their integrity - and unique taste in film quality - is disregarded. They view Indiewood as a way for struggling filmmakers to compromise their work for better financial standing. Also, with partial funding coming from Hollywood studios, an Indiewood production cannot wholly be considered independent. However, Indiewood allows for the incorporation of  ‘independent flavour’ in mainstream cinema – a great way for auteurs and actors to bring their talent to a wider audience. It is up to the filmmaker how much they quality they are willing to sacrifice for a wider appeal.

While the Hollywood studios have become known for, and identified with, specific forms of film, they constantly look to claim new commercial terrain.

 

– Paul McDonald, Film Journalist (2009)

Geoff King (pictured) and

his renowned textbook,

Indiewood, USA: Where Hollywood Meets Independent Cinema (2009)

Kevin Spacey (above) and Mena Suvari (right) in American Beauty (2009)

Kate Winslet and Jim Carrey in Indiewood hit,

Eternal Sunshine of the Spotless Mind (2004), Directed by Michael Gondry

Written by Ezra May Aringay

In conclusion, what ‘Indiewood’ teaches us is that independent cinema may serve as Hollywood’s counterpart, but it is not exactly anti-Hollywood. They are able to work together just as well as they are able to function separately, whether it is for financial or creative reasons. It all depends on the kind of success desired.  A typical Hollywood storyline on a low budget with unknown actors? A high budget production with an experimental storyline and celebrity talent? The filmmaker must decide.

 

Indiewood films released throughout the 2000s.

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