Abstract
Sarah Kozloff (2000) argues that generic speech conventions were established early in the sound era. This book considers how, and gauges why, American independent filmmakers manipulate such internalised conventions. This chapter provides an overview of the methodological framework for doing so, including the rationale for studying the significance of dialogue to low-budget cinema more generally. Addressing the long-standing bias against film dialogue, the chapter outlines the precarious status that dialogue holds in film studies, and the film industry, since the introduction of sound or ‘talking pictures’. The chapter connects niche film audiences with niche forms of dialogue, such as those in indie and art cinemas. Drawing on audience studies and cognitive film theory, it also considers the appeal of alternative dialogue styles in American independent cinema.
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