Reclaiming Independence: American Independent Cinema Distribution and Exhibition Practices beyond Indiewood

In 2008 the American “indie” film sector saw no fewer than three “specialty film divisions” being closed by their parent companies, while two years later the once mighty Miramax was sold by Disney. This consolidation created a sector that is now controlled by a handful of major conglomerate subsidiaries and a few diversified stand-alone companies. These companies have been investing increasingly in commercial properties, with films like Juno (2007) and Sideways (2006) achieving commercial success almost on a par with studio pictures and provoking reactions from critics who have questioned their independent status.While “indie” film seems to be on a convergence course with studio filmmaking (and marketing), the “lower end” of the independent spectrum has seen developments that seem to be driven by models that increasingly bypass theatrical distribution and exhibition. Such models aim to link the film producer with an audience who consume films at home, and are characterised by practices such as the sale of DVDs from the filmmakers’ own websites to a substantial clientele; and an extensive and innovative use of social networking media. The low cost of these practices allows some of these films to achieve profitability, which enables their filmmakers to continue working without compromises. In this respect, the essay argues that despite the increasing institutionalisation of American independent and the cooptation of “indie” film from the Hollywood conglomerates in recent years, the introduction of new film business models at the low end of the sector has once again allowed independent cinema to regenerate and to continue to provide an alternative to Hollywood.