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Film HistoriesAn Introduction and Reader$
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Paul Grainge, Mark Jancovich, and Sharon Monteith

Print publication date: 2007

Print ISBN-13: 9780748619061

Published to Edinburgh Scholarship Online: September 2012

DOI: 10.3366/edinburgh/9780748619061.001.0001

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Cults, Independents and ‘Guerrilla’ Filmmaking

Cults, Independents and ‘Guerrilla’ Filmmaking

Chapter:
(p.504) 22 Cults, Independents and ‘Guerrilla’ Filmmaking
Source:
Film Histories
Author(s):

Paul Grainge

Mark Jancovich

Sharon Monteith

Publisher:
Edinburgh University Press
DOI:10.3366/edinburgh/9780748619061.003.0022

This chapter focuses on alternative models of cinema, which flourished beyond the exclusive control of the major studios. This was related in no small part to occasional funding sources and specialised forms of institutional support that emerged for independent film. The video market, in particular, became a crucial source of funding through cassette presales. At the same time, international film festivals such as Cannes, Venice, London, Berlin, Toronto, Hong Kong and Pusan became an important showcase for raising public awareness of films produced outside Hollywood. The chapter also includes the study, ‘Gone With The Wind Plus Fangs’: Genre, Taste and Distinction in the Assembly, Marketing and Reception of Bram Stoker's Dracula by Thomas Austin, which examines the particular means by which film in the early 1990s was distinguished by a so-called ‘industrially motivated hybridity’. This describes the means by which film creates appeal not through any singular or unified style, but through promotional and conversational processes of fragmentation, elaboration and diffusion.

Keywords:   alternative cinema, independent films, international film festivals, Thomas Austin, Gone with the Wind, Bram Stoker's Dracula

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