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. |
From inside the book
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... Cinema Accented Filmmakers xi xiii 3 10 10 Exilic Filmmakers Diasporic Filmmakers 11 13 Tactile Optics The Stylistic Approach Language , Voice , Address Embedded Criticism Accented Structures of Feeling Third Cinema Aesthetics Border ...
... Up : Atom Egoyan's Next of Kin 262 Close - Up : Mitra Tabrizian's The Third Woman 266 The Ethics and Politics of Performed Identity 269 Diegetic Staging 271 Doppelgängers , Doubling , Duplicity 272 Self - Reflexivity 276 CONTENTS ix.
... checked in as luggage in Ghasem Ebrahimian's The Suitors . 265 35. “ The Leader ” interviews “ The Third Woman " in Mitra Tabrizian's The Third Woman . 268 AN ACCENTED CINEMA Introduction IN JUNE 1995 , while conducting LIST OF ...
... cinema screens were monopolized by the West , par- ticularly by American films , and the Third World people were more consumers of these films than producers of their own narratives . But now people of the Third World are making and ...
... Third World and postcolonial countries ( or from the global South ) who since the 1960s have relocated to northern cosmopoli- tan centers where they exist in a state of tension and dissension with both their original and their current ...
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 |