Film 114a: Genre, Gender and Women’s Filmmaking

Instructor: Dr. Mary HarrodOffice Hours: Tues/Fri 11.30-12 and Tues 2-3, Olin Sang 219.Class hours/location: Tues/Fri 9.30-10.50, Mandel G03 (except Friday week 3,

February 3, Shapiro Campus Multipurpose Room, second floor)E-mail: mgmh@brandeis.edu

Course DescriptionThis course will consider women’s recently expanding contribution to popular filmmaking across a range of genres and production contexts, including the USA (for the first half of the course), then France, Spain, India and the UK. It will explore how women draw on both national and transnational paradigms to express concerns that have particular resonance for them: what creative strategies emerge from such an encounter and how these might be understood as feminist, as well as how racial, sexual and other identity categories inflect issues of gender.

RequirementsThis is a four-credit course (with three hours of class-time per week). Students are expected to spend a minimum of nine hours of study time each week in preparation for the course (readings, papers, films, discussion, and so on). In addition to weekly assignments and regular attendance, class requirements include participation in discussion (10% of grade), an oral presentation (20%), a midterm paper (25%, due 28 February) and a final project (45%; due 10 May except seniors due 2 May)

Set readings will be posted on LATTE (marked L on syllabus) or are available online through the library or elsewhere. For general readings on women’s filmmaking and related topics see the additional bibliography at the end of this syllabus; for an introduction to analysing film see Bordwell and Thompson, Film Art (McGraw-Hill, various editions). All required films will be digitized on LATTE, but students can also consult the Goldfarb Library, which now holds a rich collection of relevant movies on DVD.

 Students need to come to class and complete all assignments in a timely fashion in order to pass the course. No work will be accepted by facsimile or by electronic mail. Essays must be delivered in person and in hard copy. Students should comply with University policy on academic integrity as set forth in the Rights and Responsibilities Handbook distributed by the Office of Campus Life. Those with a documented disability on record at the University ought to see the instructor immediately.

Goals and Outcomes  In addition to improving expository writing skills, students will learn to analyse film from aesthetic, industrial and ideological perspectives. They will also gain knowledge about the relationship between film and gender studies, theories of genre and authorship in cinema, and the history of women filmmakers in various contexts.

Provisional Schedule

1. Week commencing 16 January Introduction: Genre, Gender and Authorship

Film: Annie Hall (Woody Allen, USA 1977)Reading:

- Steve Neale, ‘Questions of Genre,’ Screen 31 (1): 45-66 (1990). https://genrefilm.wikispaces.com/file/view/Neale+on+Genre.pdf

- Frank Krutnik, ‘The Faint Aroma of Performing Seals: the “Nervous” Romance and the Comedy of the Sexes.’ The Velvet Light Trap no. 26 (Fall 1990): 57-72. L

Further viewing: Dance, Girl, Dance (Dorothy Arzner, USA 1940); The Hitch-Hiker (Ida Lupino, USA 1953)Further reading:

- Timothy Corrigan, ‘The Commerce of Auteurism,’ in A Cinema Without Walls: Movies and Culture After Vietnam (New Brunswick, NJ: Rutgers UP, 1991), 101–36. L

- ------------------, ‘Auteurs and the New Hollywood,’ in J. Lewis (ed.), The New American Cinema (Durham, Duke University Press, 1998), 38-63.

- Christine Gledhill, ‘Rethinking genre,’ in C. Gledhill and L. Williams (eds.), Reinventing Film Studies Edward Arnold, 2000), 221-43. http://academic.uprm.edu/mleonard/theorydocs/readings/Gledhill.pdf

- David Shumway, ‘Relationship Stories.’ In Modern Love: Romance, Intimacy and the Marriage Crisis (New York: New York University Press, 2003), 157-87.

- Peter William Evans and Celestino Deleyto, ‘Introduction: Surviving Love,’ in P. W. Evans and C. Deleyto (eds) Terms of Endearment: Hollywood Romantic Comedies of the 1980s and 1990s (Edinburgh: Edinburgh University Press,1998), 1-14.

2. W/c 23 January‘Chick-flicks’ 1: romantic comedy

Film: What Women Want (Nancy Meyers, USA 2000)Reading: - Jane Gaines, ‘The Genius of Genre and the Ingenuity of Women,’

(extract) in C. Gledhill (ed.), Gender Meets Genre in Postwar Cinemas

(Illinois: Urbana, Chicago & Springfield: University of Illinois Press, 2012), 15-23. L

- Deborah Jermyn, ‘The Contemptible Realm of the Queen of Romcom: Nancy Meyers, Cultural Value and Romantic Comedy,’ in M. Harrod and K. Paszkiewicz (eds), Women’s Authorship and Genre in Film and Television (forthcoming Routledge, 2017). L

Further viewing: Sleepless in Seattle (Nora Ephron, USA 1993), Something’s Gotta Give (Meyers, 2003), The Holiday (Meyers, USA 2006), It’s Complicated (Meyers, USA 2009)Further reading: - Celestino Deleyto, ‘Introduction,’ in The Secret Life of Romantic Comedy.

Manchester and New York: Manchester University Press 2009, pp. 1-17. - Frank Krutnik, ‘Love Lies: Romantic Fabrication in Contemporary Romantic

Comedy,’ in P. W. Evans and C. Deleyto (eds) Terms of Endearment: Hollywood Romantic Comedies of the 1980s and 1990s (Edinburgh: Edinburgh University Press,1998), 1-14.

- Tamar Jeffers-Macdonald, ‘Introduction,’ in Romantic Comedy: Boy Meets Girl Meets Genre (New York: Columbia UP, 2012) (on Sleepless in Seattle).

3. W/c 30 January‘Chick-flicks’ 2: period drama ** Friday 3=open DEIS session in Shapiro Campus

Multipurpose Room, second floor***Film: Marie Antoinette (Sofia Coppola, USA/France/Japan, 2006)Reading: - Belén Vidal, ‘Narrative Aesthetics and Gendered Histories: Renewing

the Heritage Film,’ in Heritage Film: Nation, Genre and Representation (NY: Columbia University Press, 2012), 91-121. L

- Christina Lane and Nicole Richter, ‘The Feminist Poetics of Sofia Coppola: Spectacle and Self-Consciousness in Marie Antoinette (2006),’ in H. Radner and R. Stringer (eds) Feminism at the Movies : Understanding Gender in Contemporary Popular Cinema (New York and Abingdon: Routledge 2011). L

Further viewing: The Notorious Bettie Page (Mary Harron, USA 2005); Suffragette (Sarah Gavron, UK 2015); Further reading: - Belén Vidal, ‘Introduction: the Biopic and its Critical Contexts,’ in B. Vidal

and T. Brown (eds), The Biopic in Contemporary Film Culture London and New York: Routledge, 2014).

- Pam Cook, ‘History in the Making: Sofia Coppola’s Marie Antoinette and the New Auteurism,’ in B. Vidal and T. Brown (eds), The Biopic in Contemporary Film Culture London and New York: Routledge, 2014).

- Fiona Handyside,’ Girlhood, Postfeminism and Contemporary Female Art-House Authorship: The “Nameless Trilogies” of Sofia Coppola and Mia Hansen-Løve’ http://www.alphavillejournal.com/Issue10/HTML/ArticleHandyside.html

4. W/c 6 FebruaryTeenpics

Film: Clueless (Amy Heckerling, USA 1995)Reading: - Wood, Robin. ‘Party Time or Can’t Hardly Wait for that American Pie:

Hollywood High School Movies of the 90s.’ CineAction! 58 (2002): 4-10.

- Lynch, Deirdre. ‘Clueless: About History.’ In Jane Austen and Co.: Remaking the Past in Contemporary Culture, ed. by Suzanne R. Pucci and James Thompson, 71-92. New York: SUNY Press 2003. L

Further viewing: Fast Times at Ridgemont High (Amy Heckerling, USA 1982), Lords of Dogtown (Catherine Hardwicke, USA/Germany, 2005), The Bling Ring (Coppola, USA 2012)Further reading:- Tim Shary, Teen Movies: American Youth on Screen (Wallflower Press,

2005)- Maureen Turim, ‘Popular Culture and the Comedy of Manners: Clueless and

Fashion Clues,’ in Jane Austen and Co.: Remaking the Past in Contemporary Culture, Suzanne R. Pucci and James Thompson (eds), 33-52. New York: SUNY Press 2003.

- Tim Shary and Frances Smith, Refocus on the Films of Amy Heckerling (Edinburgh University Press, 2016), especially chapters 3 and 12.

5. W/c 13 February(Teen ?) fantasy plus discussion of midterm project

Film: Twilight (Catherine Hardwicke, USA 2008)- Mark Adams, ‘“Venus in Fangs”: Negotiating Masochism in Twilight,’

in W. Clayton and S. Harman (eds), Screening Twilight: Critical Approaches to a Cinematic Phenomenon (London: I. B. Tauris, 2014). L

- Bethan Jones, ‘Normal Female Interest in Vampires and Werewolves Bonking: Slash and the Reconstruction of Meaning,’ in W. Clayton and

S. Harman (eds), Screening Twilight: Critical Approaches to a Cinematic Phenomenon (London: I. B. Tauris, 2014). L

Further viewing: Red Riding Hood (Hardwicke, USA 2011); Vamps (Heckerling, USA 2012)Further reading:- Anne Morey (ed.), Genre, Reception and Adaptation in the Twilight Series

(Cambridge, Mass. : Ashgate, 2012)

W/c 20 February WINTER RECESS

6. W/c 27 February*Midterms due Tuesday 28 February*

The Horror MovieFilm: Carrie (Kimberly Peirce, USA 2013)Reading: - Barbara Creed, ‘Horror and the Monstrous-Feminine: An Imaginary

Abjection,’ Screen 27, 1 (1986), 44-71. L- Katarzyna Paskiewicz, ‘When the Woman Directs (A Horror Film),’ in

M. Harrod and K. Paszkiewicz (eds), Women’s Authorship and Genre in Film and Television (forthcoming Routledge, 2017). L

Further viewing: The Slumber Party Massacre (Amy Jones, USA, 1982), Near Dark (Bigelow, USA 1986), Jennifer’s Body (Karyn Kusama, USA 2009)See also Will Ashton’s 9-Minute video essay comparing De Palma’s and Kimberly Peirce’s versions of Carrie, http ://www.indiewire.com/2016/03/watch- 9-minute-video-essay-compares-brian-de-palmas-kimberly-peirces-versions-of-carrie-263707/

Further reading:- Cynthia A. Freeland, ‘Feminist Frameworks for Horror Films,’ in Noël

Carroll and David Bordwell, eds. Post-Theory:  Reconstructing Film Studies, (University of Wisconsin Press, 1996), pp. 195-218.

http://uffilmanalysis.pbworks.com/f/Freeland742-763.pdf- Carol Clover, ‘Her Body, Himself: Gender in the Salsher Film,’ in B. K. Grant

(ed.), The Dread of Difference: Gender and the Horror Film (Austin, University of Texas Press, 1996).

7. W/c 6 MarchAction cinema

Film: Point Break (Kathryn Bigelow, 1991)

Reading: - Sean Redmond, ‘All That is Male Melts Into Air : Bigelow on the Edge

of Point Break,’ in D. Jermyn and S. Redmond (eds), The Cinema of Kathryn Bigelow : Hollywood Transgressor (London : Wallflower, 2003), pp. 106-124.L

- Luke Collins, ‘100% Pure Adrenaline: Gender and Generic Surface in Point Break,’ in C. Gledhill (ed.), Gender Meets Genre in Postwar Cinemas (Illinois: Urbana, Chicago & Springfield: University of Illinois Press, 2012), 54-67.L

Further viewing: The Hurt Locker (Bigelow, USA 2010), Meek’s Cutoff (Kelly Reichardt, USA 2010), Girlfight (Karyn Kusama, USA 2000)Further reading: - Steve Neale, ‘Action-Adventure as Hollywood Genre,’ in Y. Tasker (ed.), The

Hollywood Action and Adventure Film (Wiley-Blackwell, 2015).- Yvonne Tasker, Spectacular Bodies: Genre, Gender and the Action Cinema

(London and New York, Routledge, ‘Introduction’ and Chapters 3 (on masculinities) & 8 (on Bigelow).

- Yvonne Tasker and Eylem Atakav, ‘The Hurt Locker: Male Intimacy, Violence, and the Iraq War Movie,’ in Sinecine 1(2), 57-70. http://www.sinecine.org/wp-content/uploads/2014/11/Tasker_Hurt-Locker.pdf

- Dawn Hall, ‘Gender Politics in Kelly Reichardt’s Feminist Western Meek’s Cutoff,’ in M. Harrod and K. Paszkiewicz (eds), Women’s Authorship and Genre in Film and Television (forthcoming Routledge, 2017). Email me for a copy.

- Yvonne Tasker, ‘Bodies and Genres in Transition: Girlfight and Real Women Have curves,’ in C. Gledhill (ed.), Gender Meets Genre in Postwar Cinemas (Illinois: Urbana, Chicago & Springfield: University of Illinois Press, 2012).

8. W/c 13 MarchFrench Cinema 1. The ‘Banlieue’ Film

Film: Ain’t Scared/Regarde-Moi (Audrey Estrougo, France 2007)Instead of a reading, please watch La Haine (Kassovitz, 1995, FOR TUESDAY) and compare it closely with this film (FOR FRIDAY). Similarities and differences can form a basis for some discussion points. Vincendeau’s book on La Haine (see below) is also excellent for those wishing to flesh out thoughts on the ‘banlieue film’ genre.

Further viewing: Girlhood/Bande de filles (Céline Sciamma, France 2014); Leila/Toi, moi, les autres (Estrougo, France 2010).Further reading:- Ginette Vincendeau, La Haine (London: I. B. Tauris, 2005). - Will Higbee, ‘The return of the political, or designer visions of exclusion? The case for Mathieu Kassovitz's ‘fracture sociale’ trilogy, Studies in French Cinema 5, 2 (2005).

- Carrie Tarr, Reframing Difference: Beur and banlieue filmmaking in France (2005), especially Chapter 3 on Métisse and La Haine.- Ginette Vincendeau, ‘Minority Report’, Sight & Sound: French Cinema Special, 25: 6 (2015): 22 – 27. On Bande de filles.

9. W/c 20 MarchFrench Cinema 2: Romcom à la française

Film: French Twist/Gazon maudit (Josiane Balasko, France 1995) Reading:- FOR TUESDAY: Kathleen Rowe, The Unruly Woman (Austin:

University of Texas Press, 1995), 1-12. L- FOR FRIDAY: Ince, ‘Queering the family: fantasy and the performance

of sexuality and gay relations in French cinema 1995-2000’, Studies in French Cinema 2, no.2 (2002), 90-97. L

Further viewing: Jet-Lag/Décalage horaire (Daniéle Thompson, France/USA 1999); Venus Beauty Institute/Vénus Beauté Institut (Tonie Marshall, France 1999); 2 Days in Paris (Julie Delpy, France/Germany, 2007); 2 Days in New York (Julie Delpy, France/Germany/Belgium 2012).Further reading:- Brigitte Rollet, ‘Transatlantic Exchanges and Influences: Décalage horaire

(Jet Lag), Gender and the Romantic Comedy à la française,’ in S. Abbott and D. Jermyn (eds), Falling in Love Again: Romantic Comedy in Contemporary Cinema (London: I.B. Tauris), 92-104. L

- -------------, ‘Unruly Woman? Josiane Balasko, French Comedy, and Gazon maudit,’ in P. Powrie (ed.), French Cinema in the 1990s: Continuity and Difference (Oxford: Oxford University Press, 1999), 127-36.

- Mary Harrod, ‘The Réalisatrice and the Rom-Com in the 2000s,’ Studies in French Cinema, Special Issue on ‘Women’s Filmmaking in the 2000s,’ vol. 12, no. 3 (2012), ----------------, From France with Love: Gender and Identity in French Romantic Comedy (I. B. Tauris, 2015), Introduction and Chapter 3.

- ------------, ‘Sweet Nothings?: Imagining the Inexpressible in Contemporary French Romantic Comedy,’ Studies in French Cinema, vol. 13, no. 2 (2013), 171-187.

*Friday 24th. No class.* I will ask you to spend some time preparing answers to questions on the film to report back on during the following session, as the topics are linked.

10. W/c 27 MarchSpanish cinema 1: comedy

Film: A mi madre le gustan las mujeres/ My Mother Likes Women (Daniela Fejerman & Inés París, Spain, 2002)Reading:- FOR TUESDAY: Rosa Montero, Anny Brooksbank Jones and Chris

Perriam, ‘Gender and Sexuality’, in Spanish Cultural Studies. An Introduction, edited by Helen Graham and Jo Labanyi, 381-395. Oxford: Oxford University Press, 1995. L

- FOR FRIDAY: Barbara Zecchi, ‘Comedy as a feminist strategy: Spanish women filmmakers reclaim laughter,’ in M. Harrod and K. Paszkiewicz (eds), Women’s Authorship and Genre in Film and Television (forthcoming Routledge, 2017). L

Further viewing: Semen, A Love Sample/Semén, Una historia de amor (París & Féjerman, Spain 2005) Further reading:- Juan Antonio Pérez Millán, “Women are also the future. Women directors in

recent Spanish cinema”, Cineaste 29.1 (2003), 50-55.

11. W/c 3 April Spanish cinema 2: the crime filmFilm: Mataharis (Icíar Bollaín, Spain 2007)Reading:

- FOR TUESDAY: Hallam, Julia and Margaret Marshment, ‘Space, place and identity: reviewing social realism’ [extract], 184-196. In Realism and Popular Cinema, Manchester: Manchester UP, 2000. L

- FOR FRIDAY: Isabel Santaolalla, ‘Mataharis (2007, Spain): Secrets, Lies and Truths,’ in The Cinema of Icíar Bollaín. Manchester: Manchester University Press, 2012, Chapter 9. L

Further viewing: Te doy mis ojos/Take My Eyes (Bollaín, Spain 2004); Flores de otro mundo (Bollaín, 1999); Los lunes al sol/Mondays in the Sun (Fernando León de Aranoa, 2002); Solas (Benito Zambrano, 2002).Further reading:- (for Spanish speakers) Ángel Quintana, ‘Fernando León de Aranoa:

"Princesas" (2005) y el realismo tímido en el cine español,’ Foro hispánico 32 (2008): 251-63.

10-18 AprilPASSOVER AND SPRING RECESS

*Friday 21st No class* I will ask you to write essay plans on final project sample questions for discussion the following session

Tuesday 25 April – Revision Session

12. Friday 28 April – East Meets West via Bollywood ‘Middle Cinema’Film: Monsoon Wedding (Mira Nair, India/ USA/ Italy/ Germany/France 2001)Reading: - Jigna Desai, ‘Conclusion: Migrant Brides, Feminist Films, and

Transnational Desires,’ in Beyond Bollywood: the Cultural Politics of South Asian Diasporic Film (London and New York: Routledge, 2004), pp. 211-231. L

Further viewing: 15 Park Avenue (Aparna Sen, India 2005)Further reading:- Craig Dionne and Parmita Kapadia, ‘Introduction: the Difference a World

Makes,’ in C. Dionne and P. Kapadia (eds), Bollywood Shakespeare (Palgrave USA, 2014).

- Rajinder Dudrah, Bollywood: Sociology Goes to the Movies (London and New Delhi, Sage 2006)

13. Tuesday 2 May - Globalising gender identitiesFilm: Bend it Like Beckham (Gurinder Chadha, UK 2002)Reading:

- Mridula Nath Chakraborty, ‘Crossing Race, Crossing Sex in Gurinder Chahdha’s Bend It Like Beckham (UK, 2002): Managing Anxiety in Multicultural Britain,’ in H. Radner and R. Stringer (eds) Feminism at the Movies: Understanding Gender in Contemporary Popular Cinema (New York and Abingdon: Routledge 2011). L

Further viewing: Bride and Prejudice (Chadha, UK/USA/India 2004)Further reading: - Sarah Ahmed, ‘Multiculturalism and the Promise of Happiness,’ New

Formations 63 (Winter): 121-73. - Daniela Berghahn, ‘Gender, Generation and the Production of Locality in the

Diasporic film,’ in Far-flung Families: The Diasporic Family in Contemporary Cinema, pp. 120-151. L

Additional bibliography

On women’s filmmaking

1. Monographs

Ally Acker, Reel Women: Pioneers of the Cinema (Batsford, 1991)

Lucy Bolton, Film and Female Consciousness: Irigaray, Cinema and Thinking Women (Palgrave 2011)

Alison Butler, Women’s Cinema: The Contested Screen (Wallflower, 2002)

Teresa de Lauretis, Alice Doesn’t: Feminism, Semiotics, Cinema (Bloomington, 1984)

Shelley Cobbs, Adaptation, Authorship, and Contemporary Women Filmmakers (Palgrave Macmillan, 2014)

Janice Cole and Holk Dale, Calling The Shots: Profiles of Women Filmmakers (The Quarry Press, 1993)

Lucy Fischer, Shot/Countershot: Film Tradition and Women’s Cinema (Princeton University Press, 1989)

Sandy Flitterman-Lewis, To Desire Differently (Columbia, 1990)

E. Ann Kaplan, Women and Film: Both Sides of the Camera (Routledge, 1983)

Christina Lane, Feminist Hollywood: From Born in Flames to Point Break (Wayne State University Press, 2000)

Judith Mayne, The Woman at the Keyhole: Feminism and Women’s Cinema (Bloomington UP, 1990)

-----------------Directed by Dorothy Arzner (Bloomington UP, 1994)

Lauren Rabinovitz, Points of Resistance: Women, Power and Politics in the New York Avant-Garde Cinema, 1943-71 (2nd. Edition, Illinois, 1994)

Linda Seger, When Women Call The Shots: The Developing Power and Influence of Women in Television and Film (Henry Holt, 1996)

Kaja Silverman, The Acoustic Mirror: The Female Voice and Psychoanalysis in Cinema (Indiana UP, 1988).

Yvonne Tasker, Working Girls: Gender and Sexuality in Popular Cinema (Routledge, 1998)

Sue Thornham What if I Had Been the Hero: Investigating Women’s Cinema (BFI, 2012)

Patricia White, Women’s Cinema, World Cinema (Duke University Press, 2015)

2. Chapters/Edited collections

Vicki Callahan, Reclaiming the Archive: Feminism and Film History (Wayne State University Press, 2010).

Pam Cook, Women and Film: A Sight and Sound Reader (Scarlet Press, 1993, edited by Pam Cook)

Teresa de Lauretis, ‘Aesthetics and Feminist Theory: Rethinking Women’s Cinema,’ in D. Pribram (ed.), Female Spectators: Looking at Film and TV (Verso, 1990).

Patricia Erens, Issues in Feminist Film Criticism (Indiana University Press, 1990)

Christine Gledhill, Gender Meets Genre in Postwar Cinemas (Illinois: Urbana, Chicago & Springfield: University of Illinois Press, 2012)

Deborah Jermyn and Sean Redmond, The Cinema of Kathryn Bigelow (Wallflower, 2003)

Claire Johnston, ‘Women’s Cinema as Counter Cinema,’ in Bill Nichols (ed.) Movies and Methods (University of California, 1976)

James Mottram, Sundance Kids: How the Mavericks Took Back Hollywood (Faber and Faber, 2006), especially chapter 11 on Peirce and Coppola.

E. Ann Kaplan, Feminism and Film (Oxford University Press, 2000)

Hilary Radner and Rebecca Stringer (eds) Feminism at the Movies : Understanding Gender in Contemporary Popular Cinema (New York and Abingdon: Routledge 2011).

Tim Shary and Frances Smith, Refocus on the Films of Amy Heckerling (Edingburgh University Press, forthcoming 2016)

Kaja Silverman, The Acoustic Mirror. The Female Voice in Psychoanalysis and Cinema (Indiana UP, 1988).

Anneke Smelik, And the Mirror Cracked: Feminist Cinema and Film Theory (Palgrave, 1998)

Carrie Tarr with Brigitte Rollet, Cinema and the Second Sex: Women’s Filmmaking in France in the 1980s and 1990s (Continuum, 2001)

On (Hollywood and/or) film genres :For general studies, see Rick Altman, Film/Genre (BFI, 1999) and works by Steve Neale, Thomas Schatz and Richard Maltby focused mainly on Hollywood. A useful summary of some of these is provided by Christine Gledhill in ‘Rethinking Genre,’ in C. Gledhill & Linda Williams (eds), Reinventing Film Studies (Edward Arnold, 2000) http://academic.uprm.edu/mleonard/theorydocs/readings/Gledhill.pdf

On France, see Raphaelle Moine, Cinema Genre (Blackwell 2004) or her chapters in collections such as France on Film : Reflections on Popular Cinema (Mazdon ed.) or A Companion to French Cinema (Fox, Marie, Moine and Radner eds., Blackwell 2016)

There is a wide bibliography on individual genres (see slide shows for specific sessions).

For a more industrial perspective on Hollywood, as well as Schatz, see also Jim Hillier on the New Hollywood.

For general works on US independent cinema, starting points include:

Geoff King, Indie 2.0: Change and Continuity in Contemporary American Indie Film (I. B. Tauris 2013) James Mottram, Sundance Kids: How the Mavericks Took Back Hollywood (Faber and Faber, 2006)