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Henry Jenkins. Daniels, Tracy K. (Tracy Kim) Massachusetts Institute of Technology. Dept. of Comparative Media Studies. Massachusetts Institute of Technology. Program in Comparative Media Studies/Writing 2008-09-03T15:36:55Z 2008-09-03T15:36:55Z 2008 2008 http://hdl.handle.net/1721.1/42422 238611804 Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Comparative Media Studies, 2008. Includes bibliographical references (leaves 69-71). This thesis explores the practices of filmmakers of color in the United States who employ strategies to circumvent industrial, financial and cultural barriers to production and distribution. To overcome these barriers, many filmmakers of color in the United States operate as independents, which can allow them to route around Hollywood or forge a new space within. For most contemporary independent minority filmmakers, such as those from Latin, Asian, Pacific, Native and African American communities, an amalgam of political, industrial, economic and technological shifts have both facilitated and hindered access to crucial funding and distribution opportunities, which in turn impacts their ability to control and shape their imagery and identity. The result of these impediments inspires a mix of endeavors by those who seek mainstream access and success, those who seek independent status, and the hybrid practices of those who increasingly negotiate between the two. Hybrid Cinematics describes practices of those who negotiate such strategies to not only overcome persistent barriers, but also to strengthen their presence and authority within the American motion picture industry. by Tracy K. Daniels. S.M. 71 leaves eng Massachusetts Institute of Technology M.I.T. theses are protected by copyright. They may be viewed from this source for any purpose, but reproduction or distribution in any format is prohibited without written permission. See provided URL for inquiries about permission. http://dspace.mit.edu/handle/1721.1/7582 Comparative Media Studies. Hybrid cinematics : rethinking the role of filmmakers of color in American cinema Rethinking the role of filmmakers of color in American cinema Thesis application/pdf Publication unknown unknown <Publication xmlns="https://www.openaire.eu/cerif-profile/1.1/" id="f24ea39e-5329-4eff-af2d-f92a0f09ce26"> <Type xmlns="https://www.openaire.eu/cerif-profile/vocab/COAR_Publication_Types">http://purl.org/coar/resource_type/c_1843</Type> <Language>eng</Language> <Title>Hybrid cinematics : rethinking the role of filmmakers of color in American cinema</Title> <Subtitle>Rethinking the role of filmmakers of color in American cinema</Subtitle> <PublishedIn> <Publication> </Publication> </PublishedIn> <PublicationDate>2008</PublicationDate> <Authors> <Author> <DisplayName>Daniels, Tracy K. (Tracy Kim)</DisplayName> <Affiliation> <OrgUnit> </OrgUnit> </Affiliation> </Author> </Authors> <Editors> </Editors> <Publishers> <Publisher> <DisplayName>Massachusetts Institute of Technology</DisplayName> <OrgUnit /> </Publisher> </Publishers> <License>http://dspace.mit.edu/handle/1721.1/7582</License> <Keyword>Comparative Media Studies.</Keyword> <Abstract>This thesis explores the practices of filmmakers of color in the United States who employ strategies to circumvent industrial, financial and cultural barriers to production and distribution. To overcome these barriers, many filmmakers of color in the United States operate as independents, which can allow them to route around Hollywood or forge a new space within. For most contemporary independent minority filmmakers, such as those from Latin, Asian, Pacific, Native and African American communities, an amalgam of political, industrial, economic and technological shifts have both facilitated and hindered access to crucial funding and distribution opportunities, which in turn impacts their ability to control and shape their imagery and identity. The result of these impediments inspires a mix of endeavors by those who seek mainstream access and success, those who seek independent status, and the hybrid practices of those who increasingly negotiate between the two. Hybrid Cinematics describes practices of those who negotiate such strategies to not only overcome persistent barriers, but also to strengthen their presence and authority within the American motion picture industry.</Abstract> <Access xmlns="http://purl.org/coar/access_right" > </Access> </Publication>