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. Comparing these films to Hollywood films, Naficy calls them "accented." Their accent results from the displacement of the filmmakers, their alternative production modes, and their style. Accented cinema is an emerging genre, one that requires new sets of viewing skills on the part of audiences. Its significance continues to grow in terms of output, stylistic variety, cultural diversity, and social impact. This book offers the first comprehensive and global coverage of this genre while presenting a framework in which to understand its intricacies. |
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... Cinema's Corpus 15 17 Close - Up : Middle Eastern and North African Filmmakers 17 The Stylistic Approach 19 Accented Style 22 Language , Voice , Address 22 Embedded Criticism 26 Accented Structures of Feeling 26 Tactile Optics 28 Third ...
... Up : Atom Egoyan's Next of Kin 262 Close - Up : Mitra Tabrizian's The Third Woman 266 The Ethics and Politics of Performed Identity 269 Diegetic Staging 271 Doppelgängers , Doubling , Duplicity 272 Self - Reflexivity 276 CONTENTS ix.
... checked in as luggage in Ghasem Ebrahimian's The Suitors . 265 35. " The Leader " interviews " The Third Woman " in Mitra Tabrizian's The Third Woman . 268 ! 1 AN ACCENTED CINEMA Introduction IN JUNE 1995 , LIST OF ILLUSTRATIONS XV.
... cinema screens were monopolized by the West , par- ticularly by American films , and the Third World people were more consumers of these films than producers of their own narratives . But now people of the Third World are making and ...
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Contents
IV | 10 |
V | 11 |
VI | 13 |
VII | 15 |
VIII | 17 |
IX | 19 |
X | 22 |
XII | 26 |
LXVI | 166 |
LXVII | 167 |
LXVIII | 169 |
LXX | 173 |
LXXI | 178 |
LXXII | 181 |
LXXIV | 188 |
LXXV | 191 |
XIV | 28 |
XV | 30 |
XVI | 31 |
XVII | 33 |
XIX | 36 |
XX | 40 |
XXI | 43 |
XXII | 46 |
XXIII | 56 |
XXV | 58 |
XXVI | 60 |
XXVIII | 63 |
XXX | 66 |
XXXI | 68 |
XXXII | 70 |
XXXIII | 73 |
XXXIV | 74 |
XXXVI | 81 |
XXXVII | 83 |
XXXVIII | 87 |
XXXIX | 95 |
XL | 101 |
XLII | 105 |
XLIII | 106 |
XLIV | 111 |
XLV | 115 |
XLVI | 116 |
XLVII | 118 |
XLVIII | 120 |
XLIX | 122 |
L | 123 |
LI | 127 |
LII | 132 |
LIV | 133 |
LV | 134 |
LVI | 136 |
LVII | 141 |
LIX | 146 |
LX | 152 |
LXI | 155 |
LXIII | 156 |
LXIV | 160 |
LXV | 161 |
LXXVI | 193 |
LXXVII | 197 |
LXXVIII | 199 |
LXXIX | 207 |
LXXX | 208 |
LXXXI | 210 |
LXXXII | 212 |
LXXXIII | 214 |
LXXXIV | 216 |
LXXXV | 222 |
LXXXVII | 223 |
LXXXVIII | 225 |
LXXXIX | 226 |
XC | 229 |
XCI | 230 |
XCII | 233 |
XCIII | 237 |
XCIV | 238 |
XCV | 240 |
XCVII | 243 |
XCIX | 246 |
C | 248 |
CI | 249 |
CII | 252 |
CIII | 253 |
CIV | 257 |
CV | 258 |
CVI | 261 |
CVII | 262 |
CVIII | 266 |
CIX | 269 |
CX | 271 |
CXI | 272 |
CXII | 276 |
CXIII | 277 |
CXIV | 279 |
CXV | 282 |
CXVI | 283 |
CXVII | 289 |
CXVIII | 295 |
317 | |
349 | |