Recently, the act of donating to or promoting a Kickstarter campaign has become a highly politicized and moralized one for movie fans, an act brimming with questions, crises, and conundrums about systemic economic disadvantages normalized by dominant industries of filmmaking. Suspicion has been directed in droves toward legitimate-seeming yet vastly-supported projects like the studio-release Veronica Mars movie or Zach Braff’s directorial follow-up to Garden State, whose constellation of multiple funding sources perhaps says more than we’d like to admit about the complex process of realizing even the most distinctly above-the-line indie projects.
While frustration directed at a feature adaptation of a canceled UPN show or Braff’s seemingly boundless ability to produce haterade may appear legitimate when accounting for Kickstarter’s role as the possible final refuge for American alternative filmmaking, fingers should instead be pointed to the reasons that a resource like Kickstarter has become necessary in the first place.
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