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Independent Filmmaking in the Pacific Northwest

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Independent Filmmaking in the Pacific Northwest INDEPENDENT FILMMAKING IN THE PACIFIC NORTHWEST: A CRITICAL ANALYSIS OF THE REGIONAL FILM LANDSCAPE by MARY P.A. ERICKSON A DISSERTATION Presented to the School of Journalism and Communication and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Philosophy June 2011 DISSERTATION APPROVAL PAGE Student: Mary P.A. Erickson Title: Independent Filmmaking in the Pacific Northwest: A Critical Analysis of the Regional Film Landscape This dissertation has been accepted and approved in partial fulfillment of the requirements for the Doctor of Philosophy degree in the School of Journalism and Communication by: Dr. Janet Wasko Chairperson Dr. Gabriela Martinez Member Dr. H. Leslie Steeves Member Dr. Michael Aronson Outside Member and Richard Linton Vice President for Research and Graduate Studies/Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded June 2011 ii © 2011 Mary P.A. Erickson iii DISSERTATION ABSTRACT Mary P.A. Erickson Doctor of Philosophy School of Journalism and Communication June 2011 Title: Independent Filmmaking in the Pacific Northwest: A Critical Analysis of the Regional Film Landscape Approved: _______________________________________________ Dr. Janet Wasko Thousands of films are produced every year in the United States, and only a fraction of these is made by mainstream Hollywood film studios. Independent filmmakers working in regional locations produce the majority of these films, retaining financial, creative and distribution control and working with locally-based cast and crew members. This film activity must be acknowledged in order to fully understand the American film industry. This study examines regional independent filmmaking through case studies of two film communities: Portland, Oregon and Seattle, Washington. Using political economy of communication as the primary theoretical foundation, this study focuses on the infrastructure (systems, policies, resources and practices) that supports and/or limits the production and distribution of independent films. The research utilizes extensive document analysis of historical materials and contemporary documents produced by organizations and individuals, as well as a survey of 60 film professionals and interviews with over 40 film professionals. A central challenge to independent filmmaking is the term “independent,” which has been contested by film professionals and scholars; therefore, this study analyzes and offers a new definition of “independent filmmaking.” iv The history of filmmaking activity in Portland and Seattle is presented, as well as an extensive discussion of the contemporary landscape of regional independent filmmaking in these two communities. The study finds that there are a multitude of contradictions pertaining to financing, distribution, labor and myths of independent filmmaking. These contradictions present a range of opportunities and challenges that often simultaneously conflict with each other. The filmmaking communities in Portland and Seattle have notable networks of support, including professional and educational organizations, film festivals, government initiatives and a few locally-operated distributors. However, filmmakers in both cities also share challenges in financing, distribution and labor. The study argues that regional independent filmmaking has made a dynamic and influential contribution to the American film industry and cultural production but has been under-explored in academic scholarship. The research also points to the need to examine and understand the contradictions of independent filmmaking to improve the circumstances and infrastructure that support regional independent filmmaking. v CURRICULUM VITAE NAME OF AUTHOR: Mary P.A. Erickson GRADUATE AND UNDERGRADUATE SCHOOLS ATTENDED: University of Oregon, Eugene Carleton University, Ottawa, Canada University of Washington, Seattle DEGREES AWARDED: Doctor of Philosophy, Communication and Society, 2011, University of Oregon Master of Arts, Film Studies, 2001, Carleton University Bachelor of Arts, Communications and Political Science, 1999, University of Washington AREAS OF SPECIAL INTEREST: Political Economy of Communication Film and Media Industries International Communication Media and Cultural Policy Media History Media Technologies PROFESSIONAL EXPERIENCE: Graduate Teaching Fellow, Center for the Study of Women in Society, University of Oregon, 2009-2011 Graduate Teaching Fellow, School of Journalism and Communication, University of Oregon, 2005-2010 Independent film publicity consultant, 2002-2006 Director of Publicity and Promotions, Northwest Film Forum, Seattle, WA, 2002- 2004 vi Teaching Assistant, Film Studies Department, Carleton University, Ottawa, Canada, 1999-2001 GRANTS, AWARDS, AND HONORS: Lorry I. Lokey Scholarship, School of Journalism and Communication, University of Oregon, 2008 Kappa Tau Alpha Honor Society, School of Journalism and Communication, University of Oregon, 2008 Leon Culbertson General Scholarship, University of Oregon, 2007 Finalist, Fulbright Scholar Program, 1999 Robert F. Philip Scholarship, University of Washington, 1998 PUBLICATIONS: Erickson, M. and Dewey, P. (2011). EU media policy and/as cultural policy: Economic and cultural tensions in MEDIA 2007. International Journal of Cultural Policy. Erickson, M. (2010). “In the interest of the moral life of our city”: The beginning of motion picture censorship in Portland, Oregon. Film History 22(2), pp. 148-169. Wasko, J. and Erickson, M. (2009). The political economy of YouTube. In Snickars, P. and Vonderau, P. (Eds.), The YouTube Reader. New York: Wallflower Press. Erickson, M. (2009). Co-opting “independence”: Hollywood’s marketing label. In Sickels, R. (Ed.), The business of entertainment, volume 1: Movies (pp. 129-152). Westport, CT: Praeger Press. Erickson, M. (2009). KingKong.com versus LOLTheMovie.com: Toward a framework of corporate and independent online film promotion. In Sickels, R. (Ed.), The business of entertainment, volume 1: Movies (pp. 37-54). Westport, CT: Praeger Press. Wasko, J. and Erickson, M. (Eds.). (2008). Cross-border cultural production: Economic runaway or globalization? Youngstown, NY: Cambria Press. vii ACKNOWLEDGMENTS I wish to express my sincere thanks and gratitude to a number of people who have helped me throughout my doctoral studies. Thanks to my advisor and committee chair, Dr. Janet Wasko, with whom I have had the pleasure of working on numerous projects in addition to this dissertation. I have valued her guidance and feedback and I have greatly admired her strength. I also would like to thank the members of my committee, Dr. Gabriela Martinez, Dr. Leslie Steeves, and Dr. Michael Aronson, all of whom have generously given time, suggestions and counsel. Dr. Patricia Dewey has given unwavering encouragement every step of the way. I would like to acknowledge the School of Journalism and Communication at the University of Oregon, which generously supported my research and development with the Lorry I. Lokey scholarship. This dissertation would not be possible without the active and passionate people who make up the independent film communities in Oregon and Washington. I am grateful to the individuals who generously gave their time and thoughtful answers in interviews and who have been invaluable resources in connecting with others in these communities. I also want to acknowledge the Northwest Film Forum in Seattle and my experience working there in the early 2000s. Without the generous spirit of this organization, I would likely not have understood what independent filmmaking is all about. My family and friends have helped me invaluably in this process. I want to express my appreciation and love to my parents, Paul and Suzanne, who have always given selflessly; to my brothers, Adam and Lee, who have always made me proud and for whom I hope I can do the same; and to my in-laws, John and Gail, who have been viii thoughtful and encouraging. I would like to thank my dear friends Janet Kwami, who understood the challenges of being a new mother writing a dissertation, and Alina Padilla-Miller and Cary Greenwood, who both lend an ear when I need it. Most of all, I give my love and gratitude to my husband Lucas and our daughter Katrine for their endless love, support, patience and humor in this lengthy journey. It has been exciting, fun, difficult and challenging all at the same time, and you have helped me immensely to enjoy it along the way. ix For Lucas and Katrine x TABLE OF CONTENTS Chapter Page I. INTRODUCTION .................................................................................................... 1 Definition of Terms................................................................................................ 3 Independent Filmmaking: A Brief History ............................................................ 7 Purpose of the Study .............................................................................................. 17 Significance of the Study ....................................................................................... 19 Overview of the Study .......................................................................................... 21 II. LITERATURE REVIEW, THEORETICAL FOUNDATION & RESEARCH QUESTIONS ........................................................................................................... 24 Literature Review..................................................................................................
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