Indie TV: Industry, Aesthetics and Medium Specificity

— —

James Lyons (University of Exeter, UK) Yannis Tzioumakis (University of Liverpool, UK)

Indie TV

Industry, Aesthetics and Medium Specificity

James Lyons (University of Exeter, UK), Yannis Tzioumakis (University of Liverpool, UK)

$263

Hardback

Not in-store but you can order this
How long will it take?

Availability Information

We source books from suppliers in Australia and overseas. For books we don't currently have in stock, the time it takes to get them from our suppliers can vary widely - from a few days to a few months - so we check each book with each supplier to determine the expected time it will take to be supplied to us.

We then advise you accordingly. If the time taken to get any book is too long for you, you can let us know and we will cancel or adjust your order, and refund as required.

To find out the anticipated arrival time for specific items prior to ordering, please contact us by phone or email:

Phone +61 2 9264 3111, or 1800 4 BOOKS (1800 4 26657) if outside Sydney:
option 1 Abbey's Bookshop (Crime, History, Science, Kids & more) • info@abbeys.com.au
option 2 Language Book Centre (ESL & Foreign Languages) • language@abbeys.com.au
option 3 Galaxy Bookshop (Sci-fi, Fantasy, Romance, Graphic Novels) • sf@galaxybooks.com.au

QTY:

English

Routledge
27 March 2023

Communication studies; Popular culture; TV & society; Radio & television industry

This edited collection is the first book to offer a wide-ranging examination of the interface between American independent film and a converged television landscape that consists of terrestrial broadcasters, cable networks and streaming providers, in which independent film and television intersect in complex, multifaceted and creative ways.

The book covers the long history of continuities and connections between the two sectors, as seen in the activities of PBS, HBO or Sundance. It considers the movement of filmmakers between indie film and TV such as Steven Soderbergh, Rian Johnson, the Duplass brothers, Joe Swanberg, Lynn Shelton and Gregg Araki; details the confluence of aesthetic and thematic elements seen in shows such as Girls, Breaking Bad, Master of None, or Glow; points to a shared interest in regional sensibilities evident in shows like One Mississippi or Fargo; and makes the case for documentaries and web series as significant entities in this domain. Collectively, the book builds a compelling picture of indie TV as a significant feature of US screen entertainment in the 21st Century.

This interdisciplinary landmark volume will be a go-to reference for students and scholars of Television Studies, Film Studies and Media Studies.

Edited by: James Lyons (University of Exeter UK), Yannis Tzioumakis (University of Liverpool, UK)
Imprint: Routledge
Country of Publication: United Kingdom
Dimensions: Height: 234mm, Width: 156mm,
Weight: 720g
ISBN: 9780367677299
ISBN 10: 0367677296
Pages: 372
Publication Date: 27 March 2023
Audience: College/higher education , A / AS level , Further / Higher Education
Format: Hardback
Publisher's Status: Active

Part 1: Indie Film and Television: Historical Relationships 1. Indie (Film on) TV: A Tale of two very Close Friends 2. Same Word, Different Medium: The Evolution of Indie TV since the 2000s’ Part 2: Indie Film and Television: Industrial Continuities 3. (Re-)Branding Sundance: Entering the Indie TV Market 4. Packaging the 'Purest' form of Indie TV: Michael Sugar, Talent Management and Indie-Auteur Clients’ 5. ‘The Things That Keep Us Up at Night’: Blumhouse Television and Indie Horror’s Small Screen Dispersal Part 3: Filmmakers Migration from Indie Film to TV (and back) 6. From Brick to Breaking Bad: ‘Quality’ Television Style, Authorship and ‘Cinematic’ Status 7. Mumblecore’s Second Act: Millennial Indie Moviemaking’s Migration to Television 8. Apocalyptic Visions and Commercial Constraints: Gregg Araki’s Negotiation of Emerging Modes of Indie TV Auteurship Part 4: Indie TV: Aesthetic and Institutional Trajectories 9. Prestige TV, Comedy, and the Indie Aesthetic 10. Netflix, Race and Cinephilia: Master of None and Indie TV 11. 'It may Be Where the Future of Independent Production Is Happening': Netflix and Indie Aesthetics in GLOW 12. Affect, Tabloid Reality TV and Indie Cinema Part 5: Indie TV and Regional Sensibilities 13. Fargo (2014-2020): Indie Cinema, Midwest Mobsters, and Indie TV 14. Gender, Family, and Therapeutic Regionalism in One Mississippi Part 6: Indie TV and Alternative Practices 15. Indie TV in the Streaming Era 16. Web Series as Indie TV: Intersectional Identities and Intersecting Media 17. ‘A Decade of Distinction’: A&E IndieFilms and the Channelling of Documentary

James Lyons is Associate Professor in Screen Studies at the University of Exeter. He is the author or co-editor of six books, including Documentary, Performance and Risk (2020), Miami Vice (2010) and Quality Popular Television (2003). Yannis Tzioumakis is Reader in Film and Media Industries at the University of Liverpool. He is the author and editor of eleven books, most recently United Artists (2020). He also co-edits the Routledge Hollywood Centenary and the Cinema and Youth Cultures book series.

Reviews for Indie TV: Industry, Aesthetics and Medium Specificity

Indie TV is a fascinating and wide-ranging exploration of the interrelationships between media industries. Lyons and Tzioumakis have assembled a formidable group of scholars to make the powerful collective argument that cinema and television are, and always have been, inseparable. The many layers of indie TV revealed within will inspire film and TV historians, as well as those analyzing contemporary digital media and production cultures. Jennifer Holt, University of California, Santa Barbara, USA When I praised this book to a non-academic friend, he readily and enthusiastically rattled off titles of multi-season and limited-episode series that immediately came to mind as cutting-edge examples of 'indie TV' and its cultural reach and resonance. Clearly, 'indie TV' has public purchase, and this far-ranging anthology, strong equally in conceptualization and industrial and aesthetic analysis, pinpoints why. The volume offers rich examples, sharp and smart insight, and welcome attention to diversity, on-screen and behind, around gender, race, ethnicity. Dana Polan, Cinema Studies, NYU, USA