From the writer and director of Kerala's first iPhone feature film. This book is for you if you are looking to do the following:? Learn quickly what took Ashik five years? Learn the dos and don'ts of smartphone filmmaking? Make a film for a low budget and not wait for the date of a big star, or large sums of money from a producer? Send to festivals or release it on OTT platforms"Extensively documented. Many interesting insights"-Rahul Riji Nair, Filmmaker"An inspiration"-Raj Bk, Actor, Filmmaker"More important than film history and aesthetics"-Harshitha S, FilmmakerEveryone says to go and shoot your film on a smartphone. Do it cheap. Make a low-budget film. But besides a phone, what else do you need to make your first feature film? It is not stars, stunts, money, music, dance, exotic locations, camera, VFX?!This book will help you:? Find your caliber and hone it better? Gain knowledge and confidence to go make your movie? Raise money and make a micro-budget film for ?5 lakhs ($ 7,000), on a mobile phone? Sell the movie on Amazon Prime and gain profit and international viewershipAbout The WriterAshik's aim is to make world-class films. He set foot into the professional arena by writing and directing Munnariv (2020), the first-ever Malayalam feature film to be shot entirely on an iPhone.Besides Munnariv he also made over 10 short films, assisted several Ads and award-winning feature films like Ottamuri Velicham (2017). Ashik is an Engineer by degree who worked with Tata Consultancy Services in Mumbai. He quit, traveled across India soul searching, and finally choose to follow his passion for stories. Besides making great films, he also loves to teach filmmaking.This book is not for people looking to make a star-studded high budget commercial movie. The Indian Indie Film is:? Intensive and written from experience? A complete guide on low budget filmmaking and selling itGo and make your film now!

This is the first-ever book on the rise of the new wave of independent Indian films that is revolutionising Indian cinema. Contemporary scholarship on Indian cinema so far has focused asymmetrically on Bollywood—India’s dominant cultural export. Reversing this trend, this book provides an in-depth examination of the burgeoning independent Indian film sector. It locates the new 'Indies' as a glocal hybrid film form—global in aesthetic and local in content. They critically engage with a diverse socio-political spectrum of ‘state of the nation’ stories; from farmer suicides, disenfranchised urban youth and migrant workers to monks turned anti-corporation animal rights agitators. This book provides comprehensive analyses of definitive Indie new wave films including Peepli Live (2010), Dhobi Ghat (2010), The Lunchbox (2013) and Ship of Theseus (2013). It explores how subversive Indies, such as polemical postmodern rap-musical Gandu (2010) transgress conventional notions of ‘traditional Indian values’, and collide with state censorship regulations. This timely and pioneering analysis shows how the new Indies have emerged from a middle space between India’s globalising present and traditional past. This book draws on in-depth interviews with directors, actors, academics and members of the Indian censor board, and is essential reading for anyone seeking an insight into a current Indian film phenomenon that could chart the future of Indian cinema.

This book offers a concise and cutting-edge repository of essential information on new independent Indian films, which have orchestrated a recent renaissance in the Bollywood-dominated Indian cinema sphere. Spotlighting a specific timeline, from the Indies’ consolidated emergence in 2010 across a decade of their development, the book takes note of recent transformations in the Indian political, economic, cultural and social matrix and the concurrent release of unflinchingly interrogative and radically evocative films that traverse LGBTQ+ issues, female empowerment, caste discrimination, populist politics and religious violence. A combination of essential Indie-specific information and concise case studies makes this a must-have quick guide to the future torchbearers of Indian cinema for scholars, students, early career researchers and a global audience interested in intersecting aspects of cinema, culture, politics and society in contemporary India.

This is the first edited volume on new independent Indian cinema. It aims to be a comprehensive compendium of diverse theoretical, philosophical, epistemological and practice-based perspectives, featuring contributions from multidisciplinary scholars and practitioners across the world. This edited collection features analyses of cutting-edge new independent films and is conceived to serve as a beacon to guide future explorations into the burgeoning field of new Indian Cinema studies.

America's independent films often seem to defy classification. Their strategies of storytelling and representation range from raw, no-budget projects to more polished releases of Hollywood's "specialty" divisions. Yet understanding American indies involves more than just considering films. Filmmakers, distributors, exhibitors, festivals, critics, and audiences all shape the art's identity, which is always understood in relation to the Hollywood mainstream. By locating the American indie film in the historical context of the "Sundance-Miramax" era (the mid-1980s to the end of the 2000s), Michael Z. Newman considers indie cinema as an alternative American film culture. His work isolates patterns of character and realism, formal play, and oppositionality and the functions of the festivals, art houses, and critical media promoting them. He also accounts for the power of audiences to identify indie films in distinction to mainstream Hollywood and to seek socially emblematic characters and playful form in their narratives. Analyzing films such as Welcome to the Dollhouse (1996), Lost in Translation (2003), Pulp Fiction (1994), and Juno (2007), along with the work of Nicole Holofcener, Jim Jarmusch, John Sayles, Steven Soderbergh, and the Coen brothers, Newman investigates the conventions that cast indies as culturally legitimate works of art. He binds these diverse works together within a cluster of distinct viewing strategies and invites a reevaluation of the difference of independent cinema and its relationship to class and taste culture.

Most films rely on a script developed in pre-production. Yet beginning in the 1950s and continuing through the recent mumblecore movement, key independent filmmakers have broken with the traditional screenplay. Instead, they have turned to new approaches to scripting that allow for more complex characterization and shift the emphasis from the page to performance. In Rewriting Indie Cinema, J. J. Murphy explores these alternative forms of scripting and how they have shaped American film from the 1950s to the present. He traces a strain of indie cinema that used improvisation and psychodrama, a therapeutic form of improvised acting based on a performer’s own life experiences. Murphy begins in the 1950s and 1960s with John Cassavetes, Shirley Clarke, Barbara Loden, Andy Warhol, Norman Mailer, William Greaves, and other independent directors who sought to create a new type of narrative cinema. In the twenty-first century, filmmakers such as Gus Van Sant, the Safdie brothers, Joe Swanberg, and Sean Baker developed similar strategies, sometimes benefitting from the freedom of digital technology. In reading key films and analyzing their techniques, Rewriting Indie Cinema demonstrates how divergence from the script has blurred the divide between fiction and nonfiction. Showing the ways in which filmmakers have striven to capture the subtleties of everyday behavior, Murphy provides a new history of American indie filmmaking and how it challenges Hollywood industrial practices.

In my book 'Indie Film Marketing: Global Audience Strategies' I share tried and true methods for indie filmmakers to master the art of multilingual film promotion. With my passion for storytelling and many years experience in multilingual digital marketing and helping major player clients around the world and my own films, I reveal strategies to connect with audiences beyond the studio system. In today's digital era, the internet and social media offer powerful tools for indie filmmakers. Learn to navigate cyberspace, build engaging websites, and create compelling content to build a devoted community. Discover the power of multilingual film marketing, data-driven insights, and clickable ad campaigns. But remember, successful film marketing is about authenticity. Infuse your efforts with the passion that went into making the film to forge genuine connections. Embrace new tools and stay agile in the fast-paced world of digital marketing. Let’s leave no stone unturned in making our films go viral on global level. Ultimately, filmmaking and marketing are about touching hearts and minds. Let's embrace creativity and technology to craft unforgettable films and showcase them to the world. With case studies and a cinematic adventure, grab your director's chair and keyboard as we embark on this journey together!