J. J. Murphy – författare

Most films rely on a script developed in pre-production. Yet beginning in the 1950s and continuing through the recent mumblecore movement, key independent filmmakers have broken with the traditional screenplay. Instead, they have turned to new approaches to scripting that allow for more complex characterization and shift the emphasis from the page to performance.In Rewriting Indie Cinema, J. J. Murphy explores these alternative forms of scripting and how they have shaped American film from the 1950s to the present. He traces a strain of indie cinema that used improvisation and psychodrama, a therapeutic form of improvised acting based on a performer’s own life experiences. Murphy begins in the 1950s and 1960s with John Cassavetes, Shirley Clarke, Barbara Loden, Andy Warhol, Norman Mailer, William Greaves, and other independent directors who sought to create a new type of narrative cinema. In the twenty-first century, filmmakers such as Gus Van Sant, the Safdie brothers, Joe Swanberg, and Sean Baker developed similar strategies, sometimes benefitting from the freedom of digital technology. In reading key films and analyzing their techniques, Rewriting Indie Cinema demonstrates how divergence from the script has blurred the divide between fiction and nonfiction. Showing the ways in which filmmakers have striven to capture the subtleties of everyday behavior, Murphy provides a new history of American indie filmmaking and how it challenges Hollywood industrial practices.

Most films rely on a script developed in pre-production. Yet beginning in the 1950s and continuing through the recent mumblecore movement, key independent filmmakers have broken with the traditional screenplay. Instead, they have turned to new approaches to scripting that allow for more complex characterization and shift the emphasis from the page to performance.In Rewriting Indie Cinema, J. J. Murphy explores these alternative forms of scripting and how they have shaped American film from the 1950s to the present. He traces a strain of indie cinema that used improvisation and psychodrama, a therapeutic form of improvised acting based on a performer’s own life experiences. Murphy begins in the 1950s and 1960s with John Cassavetes, Shirley Clarke, Barbara Loden, Andy Warhol, Norman Mailer, William Greaves, and other independent directors who sought to create a new type of narrative cinema. In the twenty-first century, filmmakers such as Gus Van Sant, the Safdie brothers, Joe Swanberg, and Sean Baker developed similar strategies, sometimes benefitting from the freedom of digital technology. In reading key films and analyzing their techniques, Rewriting Indie Cinema demonstrates how divergence from the script has blurred the divide between fiction and nonfiction. Showing the ways in which filmmakers have striven to capture the subtleties of everyday behavior, Murphy provides a new history of American indie filmmaking and how it challenges Hollywood industrial practices.

Andy Warhol, one of the twentieth century's major visual artists, was a prolific filmmaker who made hundreds of films, many of them - "Sleep", "Empire", "Blow Job", "The Chelsea Girls", and "Blue Movie" - seminal but misunderstood contributions to the history of American cinema. In the first comprehensive study of Warhol's films, J.J. Murphy provides a detailed survey and analysis. He discusses Warhol's early films, sound portraits, involvement with multimedia (including The Velvet Underground), and sexploitation films, as well as the more commercial works he produced for Paul Morrissey in the late 1960s and early 1970s. Murphy's close readings of the films illuminate Warhol's brilliant collaborations with writers, performers, other artists, and filmmakers. The book further demonstrates how Warhol's use of the camera transformed the events being filmed and how his own unique brand of psychodrama created dramatic tension within the works.

Andy Warhol, one of the twentieth century’s major visual artists, was a prolific filmmaker who made hundreds of films, many of them—Sleep, Empire, Blow Job, The Chelsea Girls, and Blue Movie—seminal but misunderstood contributions to the history of American cinema. In the first comprehensive study of Warhol’s films, J.J. Murphy provides a detailed survey and analysis. He discusses Warhol’s early films, sound portraits, involvement with multimedia (including The Velvet Underground), and sexploitation films, as well as the more commercial works he produced for Paul Morrissey in the late 1960s and early 1970s. Murphy’s close readings of the films illuminate Warhol’s brilliant collaborations with writers, performers, other artists, and filmmakers. The book further demonstrates how Warhol’s use of the camera transformed the events being filmed and how his own unique brand of psychodrama created dramatic tension within the works.

In Sean Baker's award-winning 2017 film The Florida Project, a young girl, her single mother, and her friends live in rundown motels near Disney World, the children's summer fun contrasting with the grim conditions around them. In this book, J. J. Murphy delves deep into the movie's development and filming while also examining it within the wider context of Baker's career.Using production documents, different versions of the screenplay, and interviews with principal members of the production team, Murphy traces the evolution of The Florida Project from initial idea through its various stages of production. He highlights Baker's unconventional strategies in making a film about a marginalized subculture, including alternative scripting, guerrilla-like filmmaking, improvisation, and the unorthodox casting of local and first-time actors. Murphy also explores how Baker's impromptu style sometimes rankled crew members and caused a major crisis on set, revealing the difficulties indie filmmakers can face when working with professional crews on larger films. A lively analysis of this critically acclaimed movie, its director, and its production, The Florida Project also betters our understanding of contemporary independent cinema as a whole.

In Sean Baker's award-winning 2017 film The Florida Project, a young girl, her single mother, and her friends live in rundown motels near Disney World, the children's summer fun contrasting with the grim conditions around them. In this book, J. J. Murphy delves deep into the movie's development and filming while also examining it within the wider context of Baker's career.Using production documents, different versions of the screenplay, and interviews with principal members of the production team, Murphy traces the evolution of The Florida Project from initial idea through its various stages of production. He highlights Baker's unconventional strategies in making a film about a marginalized subculture, including alternative scripting, guerrilla-like filmmaking, improvisation, and the unorthodox casting of local and first-time actors. Murphy also explores how Baker's impromptu style sometimes rankled crew members and caused a major crisis on set, revealing the difficulties indie filmmakers can face when working with professional crews on larger films. A lively analysis of this critically acclaimed movie, its director, and its production, The Florida Project also betters our understanding of contemporary independent cinema as a whole.