考研阅读精选：独立电影的复兴
『独立电影在经历过诸多效果大片的冲击后，再次走进电影院，踏上了复兴之路。』Scripts, not effects
独立电影的复兴
Sep 17th, 2011 | From The Economist
THE Toronto film festival, which ends this week, marks the start of the serious-film season. Out—at least until Thanksgiving, in late November—go the superhero spectaculars. In come the foreign films and the dining-room dramas. The autumn crop is far more prone to failure than the summer one. But highbrow films now come with higher hopes.
For the past few years the independent film business has resembled a low-budget horror movie. Outside financing was brutally killed in 2008, as banks stopped lending. Three of the six major studios axed subsidiaries that had specialised in buying independent films. Consumers struck another blow by switching from buying DVDs to renting them.
Yet sales at film festivals this year have been brisk. New buyers such as CBS Films and Open Road Films have emerged to replace the departed studios. The larger independent outfits have steadied. The Weinstein Company, which almost collapsed two years ago, is basking in the success of “The King’s Speech” (pictured). Lionsgate has shaken off an activist investor, Carl Icahn, who had argued it should get out of film production. Summit Entertainment, maker of the popular “Twilight” films, closed a large financing deal in March.
It helps that films have become cheaper to make. Actors’ salaries remain depressed, and indies have become expert at exploiting competition between states and countries, which lavish subsidies on them. Most important, says Morris Ruskin, the head of Shoreline Entertainment, a glut of films commissioned in the era of loose credit has at last worked its way through the pipeline. “We’ve gone from a maq�ky"http://kaoyan.koolearn.com/zhuanshuo/mt/" target="_blank">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"http://www.economist.com/node/21529072">http://www.economist.com/node/21529072
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