Packaging House of Cards and The Knick: How talent intermediaries manage the indie-auteur brand to sell premium television

Abstract

The article explores the migration of indie-auteurs to television during the 2010s. Using David Fincher and Steven Soderbergh’s work on House of Cards and The Knick as case studies, the article argues that talent intermediaries such as producers and talent managers have sought to mobilize the indie-auteur, a branded identity and authorial discourse, to package premium television programmes to exploit growing competition between channels and platforms. The article also explores repercussions of the indie-auteur’s insertion in television as a mark of distinction, arguing that it becomes increasingly important to be aware of the systems behind it.

Creative resistance: Noah Baumbach’s literary filmography

“…35 Following King's work, Andrew Stubbs succinctly defines the indie auteur as a '[discursively constructed figure] around [whom] ideas of creative autonomy, artistic integrity, individual talent, innovation and quality coalesce.' 36 Taken literally, these are precisely the values upheld by Josh, and adulterated by Jamie. Yet, aren't Baumbach's statements regarding his literary influences, coupled with the romantic notion that he '[thinks] in terms of films', also a discursive act in line with indie-auteurist imperatives?…”