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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... Postcolonial Ethnic and Identity Filmmakers Mapping Accented 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 ...
... Postcolonial Workshops and Collectives Beur Cinema in France 4. Epistolarity and Epistolary Narratives 70 73 74 74 81 83 87 95 101 Film - Letters 101 Mode of Address 101 Communitarianism 105 Close - Up : Fernando Ezequiel " Pino ...
... postcolonial , Third World filmmakers have made in their Western sojourn since the 1960s , but several key Russian , European , Canadian , and American filmmakers in exile are also featured . In an earlier work , I focused on the ...
... postcolonial " filmmakers have dealt with particularistic and minoritarian affiliations and with the dynamics of assimilation and resis- tance . Group affiliation and identity politics often take precedence over adher- ence to cinematic ...
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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 | |