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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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Susan Seidelman’s Contemporary Films: The Feminist Art of Self-reinvention in a Changing Technological Landscape

Susan Seidelman’s Contemporary Films: The Feminist Art of Self-reinvention in a Changing Technological Landscape

Chapter:
(p.70) 4. Susan Seidelman’s Contemporary Films: The Feminist Art of Self-reinvention in a Changing Technological Landscape
Source:
Indie Reframed
Author(s):

Christina Lane

Publisher:
Edinburgh University Press
DOI:10.3366/edinburgh/9781474403924.003.0005

This chapter spotlights Susan Seidelman, who came of age during the second-wave feminist movement and found success and acclaim in the 1980s indie wave but, like other female filmmakers of her generation (Julie Dash and Allison Anders), struggled subsequently when their follow-up projects failed through poor distribution or never reached production. Lane examines Seidelman’s long-term response to this dilemma through self-reinvention and by capitalising on new technologies, including digital, social and emergent media and micro-budget strategies such as crowdsourcing and self-distribution. Her most recent films (Boynton Beach Club, 2005, and The Hot Flashes, 2013) are low-budget ‘high concept’ endeavours marketed to niche audiences – seniors, Latinos and disabled rights groups – yet blend elements of commercial and independent film.

Keywords:   Susan Seidelman, Julie Dash, Allison Anders, new technologies, micro-budget strategies, niche audiences

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