Notes on Contributors

Chapters in this book

1. Frontmatter i
2. Contents v
3. Acknowledgements vii
4. Introduction: Possible Films 1
5. Chapter 1 All the Real Girls (2003): Indie Love 15
6. Chapter 2 Bubble (2005): The Network Society 25
7. Chapter 3 Buffalo ’66 (1998): The Radical Conventionality of an Indie Happy Ending 35
8. Chapter 4 The Exploding Girl (2009): The Everyday and the Occluded Gaze 45
9. Chapter 5 Frozen River (2008): Mobility and Uncertain Boundaries 53
10. Chapter 6 Jesus’ Son (1999): ‘I Knew Every Raindrop by Its Name’ 63
11. Chapter 7 Keane (2004): Cold Comfort Camera 73
12. Chapter 8 Kicking and Screaming (1995): The Significance of Slightness 81
13. Chapter 9 Laurel Canyon (2002): Lacuscular Cinema 91
14. Chapter 10 Living in Oblivion (1995): How Mistaking Chad for Brad Could Not Overcome the Commercial Limitations of the Self-Reflexive Cycle 101
15. Chapter 11 Lovely & Amazing (2001): Naked Chick Flick 111
16. Chapter 12 Old Joy (2006): Resisting Masculinity 123
17. Chapter 13 Pariah (2011): Coming Out in the Middle 133
18. Chapter 14 Primer (2004): A Primer in First-Time Indie Filmmaking 145
19. Chapter 15 Rachel Getting Married (2008): Personal Cinema and the Smart-Chick Film 155
20. Chapter 16 Secretary (2002): Purple Pose, Indie Masochism, Bruised Romance 165
21. Chapter 17 Waitress (2007): Tragedy and Authorship in an Indie ‘Meta-Movie’ 177
22. Chapter 18 The Weight of Water (2000): A Spectacular, if Transformative Failure 187
23. Chapter 19 Winter’s Bone (2010): Modest Deals and Film Adaptation 199
24. Chapter 20 You Can Count on Me (2000): Living in Dependence 209
25. Notes on Contributors 218
26. Index 223