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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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Gender, Genre and More General Indie Dimensions in Megan Griffiths’ The Off Hours and Eden

Gender, Genre and More General Indie Dimensions in Megan Griffiths’ The Off Hours and Eden

Chapter:
(p.107) 6. Gender, Genre and More General Indie Dimensions in Megan Griffiths’ The Off Hours and Eden
Source:
Indie Reframed
Author(s):

Geoff King

Publisher:
Edinburgh University Press
DOI:10.3366/edinburgh/9781474403924.003.0007

This chapter challenges essentialist assumptions often imposed on female-directed films by analysing two features by Megan Griffiths. Where her first feature The Off Hours (2011) supports the expectation that the female sensibility results in a film with a realistic, low-key aesthetic focused on characterisation and relationships and fostered by collaborative filmmaking, these same characteristics and production methods account for much of the (predominantly male) indie sector in general. Moreover Griffiths’ Eden (2012) adapts the male thriller genre to one woman’s experience as a victim of the international sex trade. As Griffiths’ practice suggests, rather than sharing some essential predisposition, female filmmakers transform and hybridise ‘indie’ modalities and existing genres to their own feminist ends.

Keywords:   Megan Griffiths, essentialism, male, female sensibility, gender, genre, realistic aesthetic

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