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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... narrator and narrative system by its multivocal , multiauthorial , calligraphic , and free indirect discourses . Chapter 4 examines these and other issues in the context of three main types of epistolary films : film - letters ...
... narration mediates between film types ( docu- mentary , fictional ) and various levels of identity ( personal , ethnic , gender , ra- cial , national ) . Although narrative hybridity is a characteristic of the accented cinema , the ...
... narrations delivered in the accented pronunciation of the host country's language , create a slippage between voice and speaker , and inscribe everyday nondramatic pauses and long silences . At the same time that accented films ...
... narration , direct address , multilinguality , and multivocality , accented films , particularly the epistolary variety , destabilize the omniscient narrator and narrative system of the mainstream cinema and jour- nalism . Film letters ...
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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 |