In recent years American independent cinema has not only become the focus of significant scholarly attention but as a category of film it has shifted from a marginal to a central position within American cinema — a shift that can be also detected in the emergence of the label ‘indie’ cinema as opposed to independent cinema. The popularisation of this ‘indie’ brand of filmmaking began in the 1990s with the commercial success of the Sundance Film Festival and of specialty distributor Miramax Films, as well as the introduction of DVD, which made independent films more readily available as well as profitable for the first time. At the same time, film studies started developing courses that distinguished American independent cinema from mainstream Hollywood, treating it as a separate object of study and a distinct discursive category.

Despite the surge in interest in independent cinema, a surge that involved the publication of at least twenty books and edited collections alongside a much larger number of articles on various aspects of independent cinema, especially about the post-1980 era, the field — as it has developed — still remains greatly under-researched in relation to the changes of the past twenty years that define the shift from independent to ‘indie’ cinema. This is partly because a multifaceted phenomenon such as American independent cinema, the history of which is as long and complex as the history of mainstream Hollywood, has yet to be adequately and satisfactorily documented.