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 89
... cinema : exilic and diasporic filmmaking / Hamid Naficy . p . cm . Includes bibliographical references and index . ISBN 0-691-04392-2 — ISBN 0-691-04391-4 ( pbk .: alk . paper ) 1. Motion pictures — Developing countries . 2 ...
Exilic and Diasporic Filmmaking Hamid Naficy. Introduction IN JUNE 1995 , while conducting research in Paris for this book , I attended a private screening of Mohsen Makhmalbaf's A Time to Love ( Nowbat - e Asheqi , 1991 ) at MK2 ...
Exilic and Diasporic Filmmaking Hamid Naficy. Significantly , what occurred in the MK2 screening room involved not only watching and listening but also reading , translating , and writing — all of which are part of the spectatorial ...
Exilic and Diasporic Filmmaking Hamid Naficy. their homelands to advance professionally or to escape the Nazis , entered the American cinema . Working for the studios in various capacities , they proved to be pivotal in consolidating the ...
... film that constitute it : exilic , diasporic , and ethnic . These distinc- tions are not hard - and - fast . A few films fall naturally within one of these classifications ... exile ” refers SITUATING ACCENTED CINEMA 11 Exilic Filmmakers.
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 |