ABSTRACT
sex, lies, and videotape is widely regarded as one of the central examples of the indie cinema of the 1980s and 1990s, the epitome of an offbeat, lower-budget film that succeeded by appealing as an alternative to Hollywood studio films. The film integrates the then-new medium of amateur video into its representation in a way that contrasts the polished look of 35mm film with the visibly mediated aesthetic of video, with its scan lines, flicker, and lack of sharp color. Video, as made and viewed by the main character Graham, ensures an authentic and personal mode of representation, in keeping with popular discourses of video at the time. The film’s use of video in distinction to film can be read alongside indie cinema’s distinction from Hollywood. This chapter analyzes the film’s narrative by foregrounding these themes and visual devices.
