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
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... Voice , Address Embedded Criticism Accented Structures of Feeling Third Cinema Aesthetics Border Effects , Border Writing Themes Postcolonial Ethnic and Identity Filmmakers Mapping Accented Cinema's Corpus Close - Up : Middle Eastern ...
... voice - over 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 ...
... voice and a two- toned heritage : “ These texts speak in standard Romance and Germanic lan- guages and literary structures , but almost always speak with a distinct and resonant accent , an accent that Signifies ( upon ) the various ...
... voice is organic to the mind of the immigrant writer . It is not something one can invent . It is frequently buried beneath personal inhibitions and doubts . The accented voice is loaded with hidden messages from our cultural heri- tage ...
... voice - over the letters she has received from her 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 ...
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 |