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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... Interstitial Mode of Production in Exilic Cinema , " in Home , Exile , Homeland : Film , Media , and the Politics of Place , ed . Hamid Naficy ( London : Routledge , 1999 ) , 125–47 . TO MY MOTHER , FATHER AND THE REST OF THE Copyright ...
Exilic and Diasporic Filmmaking Hamid Naficy. TO MY MOTHER , FATHER AND THE REST OF THE FAMILY OVER THERE , AND TO KELLY AND THE KIDS OVER HERE Contents Acknowledgments List of Illustrations Introduction 1. Situating Accented Cinema.
... mother - daughter and genera- tional conflict narratives of Chinese - American films such as Wayne Wang's Eat a Bowl of Tea ( 1989 ) and The Joy Luck Club ( 1993 ) . The filmmakers ' task in this modality , in Stuart Hall's words , is ...
... mother . The audience may assume that these are the voices of the mothers ( complete coincidence among the three accents ) , but since neither of the films declares whose voice we are hearing , the coinci- dence is subverted and the ...
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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 |