An Accented Cinema: Exilic and Diasporic FilmmakingIn An Accented Cinema, Hamid Naficy offers an engaging overview of an important trend--the filmmaking of postcolonial, Third World, and other displaced individuals living in the West. How their personal experiences of exile or diaspora translate into cinema is a key focus of Naficy's work. Although the experience of expatriation varies greatly from one person to the next, the films themselves exhibit stylistic similarities, from their open- and closed-form aesthetics to their nostalgic and memory-driven multilingual narratives, and from their emphasis on political agency to their concern with identity and transgression of identity. The author explores such features while considering the specific histories of individuals and groups that engender divergent experiences, institutions, and modes of cultural production and consumption. Treating creativity as a social practice, he demonstrates that the films are in dialogue not only with the home and host societies but also with audiences, many of whom are also situated astride cultures and whose desires and fears the filmmakers wish to express. |
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... Germany Close - Up : Tevfik Baser Close - Up : Yilmaz Arslan's Passages Iranian Filmmakers in Europe and the United States Close - Up : Sohrab Shahid Saless 191 191 193 197 199 199 Thirdspace Play of Open and Closed Chronotopes Close ...
... German translation , and Julie Tay- lor with Spanish translation of films . José Aranda helped with Chicano terms . My brother Mehdy Naficy provided assistance for my research and interviews in Germany ; additionally , he and his family ...
... Germany . 194 25. Oppressive spatiality . The prostitutes after stabbing their pimp to death in Shahid Saless's Utopia . The subtitle reads " We are free . ” 26. Female entrapment and agoraphobia . Ellen ( on right ) and Soraya ( Shirin ...
... 1988 ) . Between the two world wars , a second group of European immigrants and exiles , particularly from Germany and Austria , who had left their homelands to advance professionally or to escape the Nazis INTRODUCTION.
... Germany , Holland , and Sweden , also proved favorable to the filmmakers . The accented filmmakers ' films , too , form a highly diverse corpus , as many of them are transnationally funded and are multilingual and intercultural . They ...
Contents
3 | |
10 | |
2 Interstitial and Artisanal Mode of Production | 40 |
3 Collective Mode of Production | 63 |
4 Epistolarity and Epistolary Narratives | 101 |
5 Chronotopes of Imagined Homeland | 152 |
Claustrophobia Contemporaneity | 188 |
7 Journeying Border Crossing and Identity Crossing | 222 |
Appendixes | 289 |
Notes | 295 |
Bibliography | 317 |
Index | 349 |