Book contents
- Frontmatter
- Contents
- List of Figures
- Acknowledgements
- 1 Introduction
- 2 A Brief History of Indie Music in American Indie Film
- 3 Sonic Authorship 1: Gregg Araki
- 4 Sonic Authorship 2: Sofia Coppola
- 5 Documenting Scenes and Performers 1: Punk, Smithereens and Suburbia
- 6 Documenting Scenes and Performers 2: Grunge and Riot Grrrl
- 7 Indie Music, Film and Race 1: Medicine for Melancholy and Pariah
- 8 Indie Music, Film and Race 2: Sorry to Bother You
- 9 Conclusion
- Bibliography
- Index
9 - Conclusion
Published online by Cambridge University Press: 19 October 2023
- Frontmatter
- Contents
- List of Figures
- Acknowledgements
- 1 Introduction
- 2 A Brief History of Indie Music in American Indie Film
- 3 Sonic Authorship 1: Gregg Araki
- 4 Sonic Authorship 2: Sofia Coppola
- 5 Documenting Scenes and Performers 1: Punk, Smithereens and Suburbia
- 6 Documenting Scenes and Performers 2: Grunge and Riot Grrrl
- 7 Indie Music, Film and Race 1: Medicine for Melancholy and Pariah
- 8 Indie Music, Film and Race 2: Sorry to Bother You
- 9 Conclusion
- Bibliography
- Index
Summary
Interconnections between indie film and indie music have accelerated because of the increased use of ‘indie’ as a broad music and film descriptor within the US, the continued commercialisation of the indie film and music spheres and the growing importance of niche cultures. This is the case across a range of different types of indie productions, but it applies particularly to the higher end of such filmmaking, including ‘indie’ films released by studio divisions or indie films which contain funding and distribution from studios; it is often within such filmmaking that the presence of indie music tends to be signalled most prominently. Matthew Nicholls has argued that music tends to be foregrounded within American independent films in noticeable ways, and that it is often important for viewers to be aware of the music, which can then cement a film’s indie status:
Not only is the audibility or aesthetic quality of the music important, but the choices are too; in a sense, musical selections (particularly obscure or nonmainstream choices) can become important distinctions that contribute toward a film’s indie authenticity. (Nicholls 2011: 34)
In the films I have analysed closely, music can be used both very noticeably and in more subtle ways, but I would certainly agree with Nicholls that its use can often strengthen the indie identity of a film: Nicholls (2011: 115) has mentioned how several independent films placed indie music within their trailers, a tactic which underpins an indie status. In studio-backed ‘indie’ films there is a greater tendency for indie music to be highlighted as part of a self-conscious indie aesthetic. As noted, however, if a film is perceived as trying too hard to come across as indie, then it might be considered inauthentic by some. So, while indie music can bolster a film’s indie credentials, such an outcome cannot be guaranteed.
Authenticity is often highly valued within indie cultures, but there is no consensus on how films or music can be considered authentic or not. Such judgements will depend on specific audiences’ broader values and tastes. Whether accepted as authentic or not, indie music – often alongside other indie markers – is frequently employed in films and has the potential to lead to a general perception of such films as non-mainstream, including films released by studios.
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- Information
- Freak ScenesAmerican Indie Cinema and Indie Music Cultures, pp. 176 - 181Publisher: Edinburgh University PressPrint publication year: 2022