“What exactly is "independent" cinema? King argues that independence can be defined partly in industry terms but also according to formal and aesthetic strategies; and by distinctive attitudes toward social and political issues; suggesting that independence is a dynamic rather than a fixed quality.
“Geoff King’s important book stands with the best scholarship I have seen on this vital, constantly evolving subject.” —David Sterritt, author of The Films of Alfred Hitchcock”
“In its dialectical relationship with the commercial mainstream, the independent film is distinguished by its more complex or decentered narrative structure. This hardheaded study, full of stats and stories, starts with the industrial context in which the US's independent cinema has operated, especially since the mid, 1980s—an institutionalization that, according to King, makes it 'easy to over—romanticize an earlier and supposedly purer notion of independence.' The study springs to life in its close analyses of individual films and directors. It is even more valuable for its treatment of minor works than for its insights into the work of John Cassavetes and David Lynch, especially on the distinguishing formal devices. One chapter applies genre theory to this diversity. The chapter on ideology rounds up the usual suspects—black independents, gender/sex alternatives, the Left—but allows for films that reinforce the mainstream. Although Steven Soderbergh shuttles between the big studio and the small indie, others (e.g., Harmony Korine and Todd Verow) exemplify the more characteristic inassimilable .. mavericks. King is so thorough and insightful one should forgive his presenting the Coen brothers as the Cohens. Summing Up: Highly recommended. Lower—division undergraduates through faculty and professionals.”
— M. Yacowar, University of Calgary , 2006feb CHOICE