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Indie ReframedWomen's Filmmaking and Contemporary American Independent Cinema$
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Linda Badley, Claire Perkins, Michele Schreiber, and Michele Schreiber

Print publication date: 2016

Print ISBN-13: 9781474403924

Published to Edinburgh Scholarship Online: May 2017

DOI: 10.3366/edinburgh/9781474403924.001.0001

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‘A Woman with an Endgame’: Megan Ellison, Annapurna Pictures and American Independent Film Production

‘A Woman with an Endgame’: Megan Ellison, Annapurna Pictures and American Independent Film Production

Chapter:
(p.54) 3.‘A Woman with an Endgame’: Megan Ellison, Annapurna Pictures and American Independent Film Production
Source:
Indie Reframed
Author(s):

James Lyons

Publisher:
Edinburgh University Press
DOI:10.3366/edinburgh/9781474403924.003.0004

This chapter examines the career and production strategies of heiress Megan Ellison, whose powerhouse Annapurna Pictures was established in 2012 with the stated goal of ‘creating sophisticated, high-quality films that might otherwise be deemed risky by contemporary Hollywood studios’, especially in an era of industry retrenchment. Like Vachon in presenting an unconventional company figurehead, Ellison spurs media scrutiny paradoxically by shunning the limelight while strategically moderating her image through various social media – as well as through Annapurna’s impressive list of award-winning films and auteurs such as Zero Dark Thirty (Kathryn Bigelow, 2012), The Master (Paul Thomas Anderson, 2012), Spring Breakers (Harmony Korine, 2013) and Her (Spike Jonze, 2013).

Keywords:   Megan Ellison, Annapurna Pictures, production strategies, social media, auteur cinema

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