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 87
... 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 Effects ...
... filmmakers , scholars , research assistants , film distributors , and academic institutions . I thank them all . With- out their help this multiyear , multinational , multilingual effort would not have been finished . Many accented ...
... filmmakers , which I have termed " accented cinema . " This is by no means an established or cohesive cinema , since it has been in a state of preformation and emergence in disparate and dispersed pock- ets across the globe . It is ...
... postmodernist discursive tourism or the positing of an all - encompassing grand Exile or great Diaspora— or a homogeneous Accented Cinema . 1 Situating Accented Cinema Accented Filmmakers The exilic and diasporic INTRODUCTION.
Exilic and Diasporic Filmmaking Hamid Naficy. 1 Situating Accented Cinema Accented Filmmakers The exilic and diasporic filmmakers discussed here are “ situated but universal ” figures who work in the interstices of social formations and ...
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 |