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American Independent CinemaRites of Passage and the Crisis Image$
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Anna Backman Rogers

Print publication date: 2015

Print ISBN-13: 9780748693603

Published to Edinburgh Scholarship Online: May 2018

DOI: 10.3366/edinburgh/9780748693603.001.0001

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Conclusion: The Crisis Image – Mumblecore and Beyond

Conclusion: The Crisis Image – Mumblecore and Beyond

Chapter:
(p.149) Conclusion: The Crisis Image – Mumblecore and Beyond
Source:
American Independent Cinema
Author(s):

Anna Backman Rogers

Publisher:
Edinburgh University Press
DOI:10.3366/edinburgh/9780748693603.003.0005

By way of conclusion and further development of the notion of a cinema of crisis, I will extend briefly this study’s theoretical framework to the work of Harmony Korine, Kelly Reichardt and the ‘Mumblecore’ movement – or, more specifically, the work of Lena Dunham. However, in order to outline these further facets of a cinema of crisis, it is necessary at this juncture to summarise what its salient features are. I argued at the beginning of this book that the dominant and established approach to American independent cinema in critical and scholarly studies is to categorise it in terms of economic, production and distribution strategies.1 While this is important and useful, this focus on the meaning and context of the very term ‘independent’ has resulted in a paucity of material on the aesthetics and poetics of this kind of cinema and its specific effect or affects. By focusing on the themes of crisis, liminality, transition, mutation and transformation, I have tried to emphasise the ways in which American independent cinema appropriates and transfigures the tropes of European ‘Art’ cinema (as set forth in Gilles Deleuze’s Cinema 2) for its own particular purposes in order to challenge entrenched modes of thought.

Keywords:   Cinema of crisis, Crisis, Mumblecore, American Independent Cinema, Art Cinema, Independent film, Indie Film, Rites of Passage, Deleuze, Liminality

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