Why I Miss the Gritty Amateur Beauty of Early Digital Filmmaking

by Peter D. Marshall

by Landon Palmer.

28 Days Later
When grassroots production company InDigEnt (Independent Digital Entertainment) quietly shut down in 2006, it marked the end of an era that never really got going. There was a lot of talk about digital filmmaking around the turn of the last century, but this was more from the point of skepticism directed at a burgeoning new means of shooting, not an embrace of new cinematic possibilities.

Inexpensive and boundary-pushing indies, then, were the only projects decisively making use of the new portable technologies out of a mix of economic necessity and aesthetic choice. As a result, for a few years at the end of the ‘90s and the very beginning of the 2000s, a few movies were made that truly look like nothing we’ve seen before or since.

InDigEnt was founded in 1999 under the inspiration of the Dogme 95 and the guerrilla, no-budget pioneering of John Cassavetes. That the name of the company’s pseudo-acronym also means “poor” seems self-deprecatingly apt, and not without some frank truth knowing the company’s fate.

But they produced several films (e.g., Tadpole, Pieces of April, Starting Out in the Evening) that flirted with the boundary between indie and mainstream, perhaps suggesting some potential accessibility of this nascent shooting format. Yet early digital filmmaking was conspicuously marked as something other than what our eyes were used to when entering the movie theater, and therein lied both its promise and its problems.

Read the rest of this article from Film School Rejects.

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