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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... Mekas's The Brig Close - Up : Nina Menkes's The Great Sadness of Zohara Close - Up : Joris Ivens's A Tale of the Wind 207 208 210 212 214 216 7. Journeying , Border Crossing , and Identity Crossing 222 Journey and Journeying 222 Home ...
... Mekas's titling in Lost , Lost , Lost . 144 17. Chris Marker's rumination in Sunless on voyeurism in the Japanese media and culture . 149 18. Kurdish rebel ( played by Nizamettin Ariç ) rescues Zinê from Iraqi chemical attack in his A ...
... Mekas's Lost , Lost , Lost ( 1949–76 ) , Fernando Solanas's Tangos : Exile of Gardel ( 1985 ) , and Prajna Parasher's Exile and Displacement ( 1992 ) . More often , however , the theory must be discovered and defined as the film moves ...
... Mekas's voice narrating his diary films ; or they may be fictitious voices , as in Marker's Letter from Siberia ( 1958 ) and Sunless ( 1982 ) ; or they may be ac- cented voices whose identity is not firmly established , as in the ...
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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 |