Strictly speaking, any American movie not made by one of the major studios can be considered an indie movie. In practical terms, it represents a broader range, and includes virtually any kind of film that doesn't have the budget of a big Hollywood film. These almost never get released onto the big screen, even in the sophisticated LA and NY film markets. Those who want to keep in touch with the scene should find out about finding indie movies online.
In terms of quality, it is best to expect to find excellence, but the sort of excellence independent film offers. The typical movie is not simply an inexpensive version of the familiar, formulaic Hollywood movie, but looks into all the corners of life Tinseltown rarely peaks into. There is an advantage to not needing to break a hundred million on opening weekend. It allows an appeal to a more knowledgeable and dedicated viewership.
Perhaps the backbone of independent film is the indie filmmaker, often possessing a Master's degree from one of the growing number of film schools. Frequently, these films are also the work of undegreed, guerilla filmmakers. These types blur together almost seamlessly, with the latter group perhaps a bit more likely to emphasize genre like horror.
There are certain entire genres of film that will almost never make vast sums of money because of the nature of a mass audience. Chief among these is the documentary. This medium has become a remarkably powerful way to spread awareness not only of themes that don't make the Hollywood film, but topics that don't make the network news.
The documentary has been forged into a resistance weapon to be wielded by those lacking power. Often these films highlight places being ignored by the larger world, like Rwanda or Indonesia. Within the United States, documentaries have helped give a voice to powerless people living on the margins. One committed documentarian can help even the advantages held by despotic regimes and indifferent international corporations.
The world of film school, consisting of graduates, faculty, and current students, naturally dovetails with the world of independent film. Accordingly, the websites that cater to the indie audience often carry those films students use to learn their art, whether "independent" or not. They frequently carry foreign language films, especially acknowledged international classics. They also offer silent films, which are ignored by the blockbuster-addled public.
One of the great capacities of the indie film is to provide genres of film that serve minority communities. They become part of a common lifestyle, nearly an alternate media universe. One community serviced in such a way is the gay and lesbian community, which is hungry for representations of screen romance that do not follow the mainstream, heterosexual model.
Another such minority community is composed of evangelical Christians, Mormons, and other conservative religious groups. Such groups have long complained about a Hollywood culture they feel once reflected traditional values but no longer does so. They too, are building their own media bubble. There are numerous reasons to escape mass media fare and support independent movies.
In terms of quality, it is best to expect to find excellence, but the sort of excellence independent film offers. The typical movie is not simply an inexpensive version of the familiar, formulaic Hollywood movie, but looks into all the corners of life Tinseltown rarely peaks into. There is an advantage to not needing to break a hundred million on opening weekend. It allows an appeal to a more knowledgeable and dedicated viewership.
Perhaps the backbone of independent film is the indie filmmaker, often possessing a Master's degree from one of the growing number of film schools. Frequently, these films are also the work of undegreed, guerilla filmmakers. These types blur together almost seamlessly, with the latter group perhaps a bit more likely to emphasize genre like horror.
There are certain entire genres of film that will almost never make vast sums of money because of the nature of a mass audience. Chief among these is the documentary. This medium has become a remarkably powerful way to spread awareness not only of themes that don't make the Hollywood film, but topics that don't make the network news.
The documentary has been forged into a resistance weapon to be wielded by those lacking power. Often these films highlight places being ignored by the larger world, like Rwanda or Indonesia. Within the United States, documentaries have helped give a voice to powerless people living on the margins. One committed documentarian can help even the advantages held by despotic regimes and indifferent international corporations.
The world of film school, consisting of graduates, faculty, and current students, naturally dovetails with the world of independent film. Accordingly, the websites that cater to the indie audience often carry those films students use to learn their art, whether "independent" or not. They frequently carry foreign language films, especially acknowledged international classics. They also offer silent films, which are ignored by the blockbuster-addled public.
One of the great capacities of the indie film is to provide genres of film that serve minority communities. They become part of a common lifestyle, nearly an alternate media universe. One community serviced in such a way is the gay and lesbian community, which is hungry for representations of screen romance that do not follow the mainstream, heterosexual model.
Another such minority community is composed of evangelical Christians, Mormons, and other conservative religious groups. Such groups have long complained about a Hollywood culture they feel once reflected traditional values but no longer does so. They too, are building their own media bubble. There are numerous reasons to escape mass media fare and support independent movies.
