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
Results 1-5 of 21
... Zahedi's I Don't Hate Las Vegas Anymore 253 Trains and Buses 257 Close - Up : Parviz Sayyad's Checkpoint 258 Suitcase 261 Close - Up : Atom Egoyan's Next of Kin 262 Close - Up : Mitra Tabrizian's The Third Woman 266 The Ethics and ...
... Zahedi , and Ilan Ziv . Unfortunately , not all made it into the final manuscript , which because of its length , had to be reduced considerably . Several film programmers helped with information and videos : Edith Kramer of the Pacific ...
... Zahedi ( left ) with his own father and brother in an off - guard moment in his I Don't Hate Las Vegas Anymore . 256 34. Maryam ( Pouran Esrafily ) inside the suitcase just before being checked in as luggage in Ghasem Ebrahimian's The ...
You have reached your viewing limit for this book.
You have reached your viewing limit for this book.
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 |