By locating the American indie in the historical context of the Sundance-Miramax era, the author considers indie cinema as an alternative American film culture.

The emergence of indie rock as a genre has helped categorize artists who belong to independent record labels. These musicians, due to their refusal to appeal to the mainstream, have boycotted the corporate rock scene to maintain more creative control. Readers learn about the debate behind whether indie bands later picked up by major labels should still be considered "indie" and why some see them as "sell outs." Detailed sidebars, an essential albums list, and annotated quotes from artists and critics are also included to expose readers to the musicians responsible for the inception and continuance of indie rock.

A Companion to American Indie Film features a comprehensive collection of newly commissioned essays that represent a state-of-the-art resource for understanding key aspects of the field of indie films produced in the United States. Takes a comprehensive and fresh new look at the topic of American indie film Features newly commissioned essays from top film experts and emerging scholars that represent the state-of-the-art reference to the indie film field Topics covered include: indie film culture; key historical moments and movements in indie film history; relationships between indie film and other indie media; and issues including class, gender, regional identity and stardom in in the indie field Includes studies of many types of indie films and film genres, along with various filmmakers and performers that have come to define the field

Indie Cinema Online investigates the changing nature of contemporary American independent cinema in an era of media convergence. Focusing on the ways in which modes of production, distribution, and exhibition are shifting with the advent of online streaming, simultaneous release strategies, and web series, this book analyzes sites such as SundanceTV, YouTube, Netflix, Hulu, and other online spaces as a means of redefining independent cinema in a digital era. Analyzing the intersections among cinema studies, cultural studies, and new media studies within contemporary convergence culture, author Sarah E.S. Sinwell looks at sites of media convergence that are often ignored within most studies of digital media. Emphasizing the ways in which the forms and technologies of media culture have changed during the age of convergence, this book analyzes contemporary production, distribution, and exhibition practices as a means of examining the changing meanings of independent cinema within digital culture.

This book presents a study of so-called indie video game developers that are widely regarded as the creative and innovative fringe of the video game industry. The video game industry is an exemplary entrepreneurial high growth industry that combines digital media, cinematographic representations and interactive gaming technologies, and uses global digital distribution channels to reach local gaming communities. The study examines a number of issues, concerns, challenges, and opportunities that indie developers are handling as part of their development work. The love of gaming and video games more specifically is the shared and unifying force of both so-called Triple-A developers and the indie developer community. Still, issues such as how to raise financial capital or otherwise fund the development work, or how to optimize the return on investment when video games are released on digital platforms are issues that indie developers need to cope with. The study is theoretically framed as a case of an innovation-led sector of the economy, yet being anchored in the Swedish welfare state model, wherein e.g., free tertiary education and social insurances and health case at low cost are provided and supportive of enterprising. This book will be valuable reading for academics working in the fields of knowledge management, innovation, and the creative economy.

"The Business of Indie Games provides exceptional insight into how the video games industry works. It shares valuable information on how to successfully self-publish and secure publisher support. Whether you’re making your first game or tenth, this book is a must read." – Paul Baldwin, Curve Digital "The video game industry is a tough business and anyone looking to succeed in indie development should give The Business of Indie Games a read." – Graham Smith, Co-Founder of DrinkBox Studios "This book is a fast track to success for anyone managing a game launch and looking to raise funding for their projects. It shares knowledge that you only learn after years of triumphs and failures within this industry." – Scott Drader, Co-Founder of Metalhead Software "There’s nothing like The Business of Indie Games taught in school. You learn how to make a game, but not how to conduct business, market, and launch a game. This book dives into topics that every indie developer should know." – Yukon Wainczak, Founder of Snoozy Kazoo "I’ve seen no better guide for understanding how the video game industry really works. An important read for anyone whose work touches games, including those of us looking to engage the community." – Carla Warner, Director of STREAM for No Kid Hungry The Business of Indie Games explores what many universities forget to cover: how to sell and market your own indie game to potential publishers and developers. While many classes help students on their way to designing and programming their own games, there are few classes that equip students with the skills to sell their own product. In essence, this means future indie game developers are not equipped to talk to investors, negotiate with publishers, and engage with major platforms like Steam and Nintendo. Authors Alex Josef, Alex Van Lepp, and Marshal D. Carper are looking to rectify this problem by helping indie game developers and companies level up their business acumen. With detailed chapters and sections that deal with different engines, negotiation tactics, and marketing, The Business of Indie Games is the perfect omnibus for up-and-coming indie game developers. The future of gaming curriculums is not just in teaching students how to create games but also in preparing them for the business of games.

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.