For regular readers of MFM, you know that most of the books we review would fall under the “instructional” header. Essentially, these teach you the basics of a particular element of filmmaking or great ways to edit your film or get your film distributed. However, just as history is an important part of schooling so that we can learn from the past, it is crucial to look at books that insightfully examine the history of filmmaking if we are to improve upon the successes and failures of the past. As the majority of readers of MFM are Independent filmmakers, it's just as crucial to know the history of Independent Cinema, as many of the front runners in this field have valuable lessons to teach us today. At the very least, it's incredibly encouraging to see what has been done before, which can inspire you to move forward with your independent filmmaking visions.
Fortunately for us, Phil Hall has done a very in-depth and captivating job of bringing The History of Independent Cinema to life.
Mr. Hall breaks down the past in a way that is simple to understand and follow in the History of Independent Cinema. His way of phrasing the tensions of the past helps keep you compelled to read on, increasing your understanding of what the building blocks of many elements of the film culture really were.
Starting by showing how the roots of the filmmaking that Edison helped pioneer quickly moved into unexpected directions as people fled to California (largely to avoid Edison's vigilant lawyers, as well as to take advantage of the more readily available sunlight for film exposure), Mr. Hall traverses some of the early avant-garde masterpieces, then moves into the wildly divergent elements of filmmaking and multimedia (like those created by Andy Warhol), from there he goes into less known indy films that were created for corporate and training purposes (some of which have roots with various famous personalities, like Walt Disney), and then goes into the digital present and future of Independent Cinema. All along the way, he helps you keep track of the main people who helped impact the playing field of independent filmmaking!
In addition to the high caliber of the commentary throughout the film, there were a number of especially insightful comments that were brought up in this book, both about the current state of affairs and about the future of independent filmmaking, that I wanted to mention.
The first thing (which is brought up through interviews with recognized independent filmmakers) is the fact that film festivals exist to make money so that they can afford theatrical venues, personnel, etc. in order to keep existing, not necessarily to discover the best possible films. While there is a desire to help get films out there, the need for large numbers and media recognition will often result in preferential treatment for extremely controversial films (even if they are of low quality) and Hollywood-financed boutique films masquerading as “Indie.” This often leads to extremely good films being unfairly denied, because they aren't edgy enough or don't have big stars, both of which will draw more crowds. It may not be fair, but it is important to be aware of and I'm glad it's brought up in this book.
The second thing deals with the future of Independent film, amidst the democratization of high-quality, low-cost filmmaking equipment:
“Those [filmmakers] with self-discipline and genuine artistic talent will be able to maneuver through the complexity of their multiple roles and create worthy movies. Those who confuse self-indulgence with artistic expression, however, will create works that are less fortunate—particularly for the poor audiences subjected to these follies.”
I couldn't agree with Mr. Hall's comments more. (While many filmmakers are consistently trying to get better at there craft, I regularly run into ones whose commitment to self-indulgent “artistry” has created a subculture that we at MFM have come to shudderingly refer to as, “masturbatory filmmaking.”)
As soon as I received this book for consideration for our magazine, I had difficulty putting it down, taking it everywhere until I was done reading it. (Which garnered me a number of unusual stares from people, as the provocative picture of Jane Russell that adorns the cover from the Howard Hughes' film, The Outlaw, made people think I was perhaps reading about the history of pinup models.) While there are some drier parts, like the sections that deal with corporate and educational filmmaking, Phil manages to make even these “less-dynamic” sections come to life with valuable information and commentary about cultural perceptions at different times.
Easily readable the first time round, this is definitely a book you'll re-read from time to time. You will also likely reference films and filmmakers that the book talks about so you can learn more from their style or perspective. (Slowly but surely, more and more lesser known historical films are becoming available on either YouTube or Netflix, which is very encouraging.)
For $22, The History of Independent Cinema is a good price point for all the information that's provided. With that said, I think a $19.99 price point would be a little more attractive for more readers.
The History of Independent Cinema provides an invaluable look at the filmmakers of the past and some of the people who pushed the envelope. As you read about the films of the past, you will easily find yourself inspired to keep improving the culture of independent cinema, while paying greater heed to the mistakes of those who have come before so that you can avoid the disasters that accompanied them.
