“I don’t want this billed as a 45 million dollar science-fiction film” said director Danny Boyle (Trainspotting, The Beach) of his latest film Sunshine. “People will think it’s an independent film, or low-budget film, rather than just a film.”

With Hollywood hedging its bets towards blockbusters, and the indie-scene being overrun with DIY releases, it’s hard to tell what really defines an “independent” film. More to the point, it’s hard to tell which directors are commercial and which are independent. For example, David Lynch self-released his three hour art-film Inland Empire last winter and is directing Gucci commercials during the summer. What does that say?

More infuriating than trying to label a director is trying to define films released by “mini-major” studios such as Fox Searchlight and Focus Features. Films like Sunshine, Eastern Promises and The Assassination of Jesse James are all being billed as independent fair, yet feature prominent A-listers who’ve taken pay cuts to participate in projects they consider worthwhile, something of a new phenomenon.

Although the budget may be fewer than 50 million dollars, if the film stars both Brad Pitt and Sam Shepard is it still an independent venture? Brad Pitt is arguably the most powerful actor working today!

In contrast, digital technology has allowed micro-budget films to make a name for themselves. The (somewhat) controversial mumblecore movement for all its praise and criticism, has none-the-less proved that budget and notoriety no longer go hand-in-hand.

Mumblecore classics like Hannah Takes the Stairs and Dance Party USA garnered significant critical success throughout the festival circuit these past two years and all were made with budgets well under one-million dollars. Should these films be the new face of the independent scene?

The bottom line: The term “independent” is undergoing a revision in the way it is used. Back in the ‘90s and earlier, there was a distinct fracture between films produced within the studio system and those produced outside. But in an age where Miramax is owned by Disney, Focus is under Universal and, even Killer Films has an overhead with John Wells, we really haven’t escaped the studio system at all.

What we have now is a new breed of film still designed to draw a profit, yet catering to a high-brow audience. Getting a film shown at Sundance isn’t enough anymore, unless a multi-million dollar distribution deal is signed and the film goes on to gross 50 times what it cost to make (Little Miss. Sunshine, The Blair Witch Project, My Big Fat Greek Wedding).

Although having a plethora of films to choose from may seem like a good thing, the box office results have not been enticing. The Assassination of Jesse James has yet to profit even three million dollars, Sunshine made less than five-hundred thousand in the USA, and the mumblecore directors admit they still have trouble affording groceries.

But profit aside, the film world is once again undergoing a dramatic change. The terms “independent” and “studio” no longer hold clear distinctions. The internet and other new media technologies offer new methods of filmmaking and interactive storytelling.

It’s time to coin some new terms to deal with the rapidly changing industry.