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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... Claustrophobia , Contemporaneity 181 188 Exile as Prison Turkish Films in 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 ...
... Claustrophobia and withdrawal . Turna whittles her bodily space and turns away from her husband in Tefik Baser's 40 m2 Germany . 194 25. Oppressive spatiality . The prostitutes after stabbing their pimp to death in Shahid Saless's ...
... claustrophobia and temporality , and it is cathected to sites of confinement and control and to narratives of panic and pursuit . While the idyllic open structures of home emphasize continuity , these paranoid structures of exile ...
... claustrophobic ( to which I devote two chapters of this book ) . In some measure , what is being described here is similar to the feeling struc- tures of postmodernism . In speaking about the formation of a new mass audi- ence for ...
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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 |