Da stellen wir uns mal janz dumm und fragen: Wat isn ne Independent-Film? Antwort: Ein Film, der außerhalb der großen Studio-Strukturen gedreht wird, also. Universal Pictures / Universum Film / Koch Films / Netflix is Who, um die großen und auch die neuen Talente im Independent-Film zu feiern. Die Bezeichnung Independent-Film bezieht sich gemeinhin auf Produktionen des amerikanischen Kinos. Bereits vor Etablierung des klassischen Hollywood-.
Auf Festivals sind sie zu Haus – Das deutsche Independent-KinoMit Queen of Earth war kürzlich endlich ein Film von Alex Perry Ross in den deutschen Kinos zu sehen, einem der Stars der Szene. Das intensive Psycho-Drama. von traditionellen Produktionsstrukturen abhängiger wurden, blieb Hartley dem Geist des Independent-Kinos treu. Oftmals nahm er Budgetkürzungen in Kauf. Universal Pictures / Universum Film / Koch Films / Netflix is Who, um die großen und auch die neuen Talente im Independent-Film zu feiern.
Independent Kino Kinofilme - Besser in Originalsprache VideoKino - Leave a Light On
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Die Chopper 2021 erfolgte Chopper 2021 28. - Independent-FilmDeutsche Independent-Filme gehen im Kino unter.
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This initial successes paved the way for the studio to relinquish almost complete control to the film school generation and began what the media dubbed " New Hollywood.
Dennis Hopper , the American actor, made his writing and directing debut with Easy Rider Easy Rider debuted at Cannes and garnered the "First Film Award" French : Prix de la premiere oeuvre after which it received two Oscar nominations, one for best original screenplay and one for Corman-alum Jack Nicholson 's breakthrough performance in the supporting role of George Hanson, an alcoholic lawyer for the American Civil Liberties Union.
Following on the heels of Easy Rider shortly afterwards was the revived United Artists' Midnight Cowboy also , which, like Easy Rider , took numerous cues from Ken Anger and his influences in the French New Wave.
It became the first and only X rated film to win the Academy Award for best picture. Midnight Cowboy also held the distinction of featuring cameo roles by many of the top Warhol superstars , who had already become symbols of the militantly anti-Hollywood climate of NYC's independent film community.
Within a month, another young Corman trainee, Francis Ford Coppola , made his debut in Spain at the Donostia-San Sebastian International Film Festival with The Rain People , a film he had produced through his own company, American Zoetrope.
Though The Rain People was largely overlooked by American audiences, Zoetrope would become a powerful force in New Hollywood.
Through Zoetrope, Coppola formed a distribution agreement with studio giant Warner Bros. These three films provided the major Hollywood studios with both an example to follow and a new crop of talent to draw from.
Zoetrope co-founder George Lucas made his feature film debut with THX , also released by Zoetrope through their deal with Warner Bros.
By the following year, two New Hollywood directors had become sufficiently established for Coppola to be offered oversight of Paramount's The Godfather and Lucas had obtained studio funding for American Graffiti from Universal.
In the mids, the major Hollywood studios continued to tap these new filmmakers for both ideas and personnel, producing films such as Paper Moon and Taxi Driver , all of which met with critical and commercial success.
These successes by the members of New Hollywood led each of them in turn to make more and more extravagant demands, both on the studio and eventually on the audience.
While most members of the New Hollywood generation were, or started out as, independent filmmakers, a number of their projects were produced and released by major studios.
The New Hollywood generation soon became firmly entrenched in a revived incarnation of the studio system, which financed the development, production and distribution of their films.
Very few of these filmmakers ever independently financed or independently released a film of their own, or ever worked on an independently financed production during the height of the generation's influence.
Seemingly independent films such as Taxi Driver , The Last Picture Show and others were studio films: the scripts were based on studio pitches and subsequently paid for by the studios, the production financing was from the studio, and the marketing and distribution of the films were designed and controlled by the studio's advertising agency.
Though Coppola made considerable efforts to resist the influence of the studios, opting to finance his risky film Apocalypse Now himself rather than compromise with skeptical studio executives, he, and filmmakers like him, had saved the old studios from financial ruin by providing them with a new formula for success.
Indeed, it was during this period that the very definition of an independent film became blurred. Though Midnight Cowboy was financed by United Artists, the company was certainly a studio.
Likewise, Zoetrope was another "independent studio" which worked within the system to make a space for independent directors who needed funding.
George Lucas would leave Zoetrope in to create his own independent studio, Lucasfilm , which would produce the blockbuster Star Wars and Indiana Jones franchises.
In fact, the only two movies of the movement which can be described as uncompromisingly independent are Easy Rider at the beginning, and Peter Bogdanovich 's They All Laughed , at the end.
Peter Bogdanovich bought back the rights from the studio to his film and paid for its distribution out of his own pocket, convinced that the picture was better than what the studio believed — he eventually went bankrupt because of this.
In retrospect, it can be seen that Steven Spielberg 's Jaws and George Lucas 's Star Wars marked the beginning of the end for the New Hollywood.
With their unprecedented box-office successes, these movies jump-started Hollywood's blockbuster mentality , giving studios a new paradigm as to how to make money in this changing commercial landscape.
The focus on high-concept premises, with greater concentration on tie-in merchandise such as toys , spin-offs into other media such as soundtracks , and the use of sequels which had been made more respectable by Coppola's The Godfather Part II , all showed the studios how to make money in the new environment.
On realizing how much money could potentially be made in films, major corporations started buying up the remaining Hollywood studios, saving them from the oblivion which befell RKO in the 50s.
Eventually, even RKO was revived. The corporate mentality these companies brought to the filmmaking business would slowly squeeze out the more idiosyncratic of these young filmmakers, while ensconcing the more malleable and commercially successful of them.
During the s, shifts in thematic depictions of sexuality and violence occurred in American cinema, prominently featuring heightened depictions of realistic sex and violence.
Directors who wished to reach mainstream audiences of Old Hollywood quickly learned to stylize these themes to make their films appealing and attractive rather than repulsive or obscene.
However, at the same time that the maverick film students of the American New Wave were developing the skills they would use to take over Hollywood, many of their peers had begun to develop their style of filmmaking in a different direction.
Influenced by foreign and art house directors such as Ingmar Bergman and Federico Fellini , exploitation shockers i. Joseph P. Mawra , Michael Findlay , and Henri Pachard and avant-garde cinema, Kenneth Anger , Maya Deren a number of young film makers began to experiment with transgression not as a box-office draw, but as an artistic act.
Directors such as John Waters and David Lynch would make a name for themselves by the early s for the bizarre and often disturbing imagery which characterized their films.
Though Eraserhead was strictly an out-of-pocket, low-budget, independent film, Lynch made the transition with unprecedented grace.
The film was a huge commercial success, and earned eight Academy Award nominations, including Best Director and Best Adapted Screenplay nods for Lynch.
It also established his place as a commercially viable, if somewhat dark and unconventional, Hollywood director.
Seeing Lynch as a fellow studio convert, George Lucas , a fan of Eraserhead and now the darling of the studios, offered Lynch the opportunity to direct his next Star Wars sequel, Return of the Jedi However, Lynch had seen what had happened to Lucas and his comrades in arms after their failed attempt to do away with the studio system.
He refused the opportunity, stating that he would rather work on his own projects. Lynch instead chose to direct a big budget adaptation of Frank Herbert 's science fiction novel Dune for Italian producer Dino De Laurentiis 's De Laurentiis Entertainment Group , on the condition that the company release a second Lynch project, over which the director would have complete creative control.
De Laurentiis, furious that the film had been a commercial disaster, was then forced to produce any film Lynch desired.
Lynch subsequently returned to independent filmmaking, and did not work with another major studio for over a decade. Unlike the former, John Waters released most of his films during his early life through his own production company, Dreamland Productions.
In the early s, New Line Cinema agreed to work with him on Polyester During the s, Waters would become a pillar of the New York—based independent film movement known as the " Cinema of Transgression ", a term coined by Nick Zedd in to describe a loose-knit group of like-minded New York artists using shock value and humor in their Super 8 mm films and video art.
Other key players in this movement included Kembra Pfahler , Casandra Stark , Beth B , Tommy Turner, Richard Kern and Lydia Lunch. Rallying around such institutions as the Film-Makers' Cooperative and Anthology Film Archives, this new generation of independents devoted themselves to the defiance of the now-establishment New Hollywood, proposing that "all film schools be blown up and all boring films never be made again.
The development of no-budget film production company ASS Studios in brought guerrilla style tactics to their filmmaking.
At the time, the main focus of the event was to present a series of retrospective films and filmmaker panel discussions; however it also included a small program of new independent films.
The jury of the festival was headed by Gary Allison , and included Verna Fields , Linwood Gale Dunn , Katherine Ross , Charles E.
Sellier Jr. In , the same year that United Artists, bought out by MGM, ceased to exist as a venue for independent filmmakers, Sterling Van Wagenen left the film festival to help found the Sundance Institute with Robert Redford.
In , the now well-established Sundance Institute, headed by Sterling Van Wagenen, took over management of the US Film Festival, which was experiencing financial difficulties.
Gary Beer and Sterling Van Wagenen spearheaded production of the inaugural Sundance Film Festival which included Program Director Tony Safford and Administrative Director Jenny Walz Selby.
In , the festival was officially renamed the Sundance Film Festival , after Redford's famous role as The Sundance Kid. Such notable figures as Kevin Smith , Robert Rodriguez , Quentin Tarantino , David O.
Russell , Paul Thomas Anderson , Steven Soderbergh , James Wan , Hal Hartley and Jim Jarmusch garnered resounding critical acclaim and unprecedented box office sales.
The s saw the rise and success of independent films not only through the film festival circuit but at the box office as well while established actors, such as Bruce Willis , John Travolta , and Tim Robbins , found success themselves both in independent films and Hollywood studio films.
Turner Broadcasting , in a billion-dollar deal, acquired New Line Cinema, Fine Line Features , and Castle Rock Entertainment in The acquisitions of the smaller studios by conglomerate Hollywood was a plan in part to take over the independent film industry and at the same time start independent studios of their own.
The following are all indie studios owned by conglomerate Hollywood:. By the early s, Hollywood was producing three different classes of films: 1 big-budget blockbusters , 2 art films , specialty films and niche-market films produced by the conglomerate-owned indies and 3 genre and specialty films coming from true indie studios and producers.
Hollywood was producing these three different classes of feature films by means of three different types of producers.
The superior products were the large, budget blockbusters and high-cost star vehicles marketed by the six major studio producer-distributors. Another class of Hollywood feature film included art films, specialty films, and other niche-market fare controlled by the conglomerates' indie subsidiaries.
The final class of film consisted of genre and specialty films administered by independent producer-distributors with only a few dozen or possibly a few hundred-release campaigns screens in select urban markets.
Film Independent Wed 2. Programs Tue 2. Spirit Awards Tue 1. Film Independent Fri 1. Spirit Awards Thu 1. Die von der Presse zu einer Gruppe zusammengefassten Filmemacher wie Joe Swanberg, Andrew Bujalski oder Greta Gerwig haben beim SXSW Film Festival Freundschaft geschlossen, ihre Kontakte vertieft und in weiterer Folge bei den Filmen der Anderen als Crewmitglied oder Schauspieler ausgeholfen.
Inzwischen haben sich die meisten Mitglieder dieser Bewegung weiter entwickelt. Greta Gerwig spielte mit Ben Stiller in Greenberg und die Duplass Brüder haben mit Marisa Tomei , John C.
Reilly und Jonah Hill Cyrus gedreht — ohne dabei von ihrer Arbeitsweise, die unter anderem viel Improvisation beinhaltet, abweichen zu müssen.
Da viele dieser Filmemacher den Schritt in eine breitere Öffentlichkeit geschafft haben und die Produktionsbedingungen immer professioneller werden — gerade die holprige Inszenierung war ein markantes Merkmal der Filme dieser Gruppe — sprechen viele Kritiker und Blogger vom Tod der Mumblecore-Bewegung.
In Deutschland begann mit dem Jungen Deutschen Film und dem Oberhausener Manifest ab Beginn der er eine Neuorientierung des Films, die um eine realistische Darstellung der Gegenwart und Gesellschaft bemüht war.
Deren Filmemacher bemühten sich um eine finanzielle und geistige Unabhängigkeit und setzten sich bewusst in Gegensatz zum damaligen Mainstream.
Hierzu gehören vor allem Rainer Werner Fassbinder , Wim Wenders , Volker Schlöndorff , Werner Herzog , Jean-Marie Straub , Alexander Kluge und Eberhard Fechner.
Diese Hochzeit des deutschen Films fand ihr Ende etwa zeitgleich wie ihre amerikanischen New Hollywood und britischen Free Cinema Movement Pendants.
Zurzeit bietet Das kleine Fernsehspiel vor allem jungen Filmemachern im Fernsehen eine Plattform für günstige, engagierte Filme. Eine herausragende Rolle für den deutschen Independent-Film spielt der X-Filme Creative Pool , eine deutsche Film- und Fernsehproduktionsfirma, die ursprünglich von den Regisseuren Tom Tykwer , Dani Levy und Wolfgang Becker sowie dem Produzenten Stefan Arndt gegründet wurde.
Entsprechend der finanziellen Ausstattung deutscher Filmfestivals konzentrieren sich die meisten auf Indies. Die bekanntesten sind die Internationalen Hofer Filmtage , das Internationale Filmfest Oldenburg sowie das in Saarbrücken beheimatete Filmfestival für Nachwuchsfilmer aus Deutschland, Österreich und der Schweiz , in dessen Rahmen jährlich der renommierte Max-Ophüls-Preis vergeben wird.