Greetings! As one of the two editors of
this issue of The Projector, I welcome you.
What is independence? It can be many
things to many people; to film studies majors,
it generally signifies a separation from the traditional Hollywood studio
system. But, like independent and Hollywood cinemas, the term independence
permutates constantly. In this issue, I use the phrase independent
cinema to discuss those filmmakers who, even while under the studio
system, refuse to completely conform to a typical Hollywood standard
I have therefore taken a very broad view
of independent cinema here. Rather than looking specifically at a classical
study of American independent films or filmmakers, I have opted to include
views on early filmmakers and independent thinkers like Lois Weber,
fiercely independent American-British directors like Terry Gilliam,
and more traditional indie filmmakers such as Lizzie Borden
and Jim Jarmusch. Also included is a look at the glorification of the
maverick criminal in early 1970s crime dramas.
I would like to thank my contributing
authors for the time they put into revising and submitting their own
work: Stacie Mills, Amanda Schaub, and Anne Marie Sweeney. Without you,
there would be only one paper in this issuemy own. Thank you much.
I hope you enjoy reading and learning
from these works as much as I have.
Anna Maurya McKibben -Editor.
SchaubLizzie Borden: Born Woman
MillsCriminal Ideology in The Godfather, Butch Cassidy, and Dog
Marie SweeneyLois Weber: Woman Filmmaker
McKibbenTerry Gilliam: Fantastic Auteur