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. |
From inside the book
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... Egoyan's Accented Style 2. Interstitial and Artisanal Mode of Production 33 36 40 Postindustrial Mode of Production Accented Mode of Production Interstitial Mode of Production 40 43 46 3. Collective Mode of Production Multisource ...
... Egoyan's Calendar Letter - Films Close - Up : Jonas Mekas 132 133 134 136 141 141 Close - Up : Chris Marker 146 5. Chronotopes of Imagined Homeland Homeland's Utopian Chronotopes : Boundlessness - Timelessness Nature 152 155 155 Close ...
... Egoyan's Speaking Parts 252 Close - Up : Caveh Zahedi's I Don't Hate Las Vegas Anymore 253 Trains and Buses 257 Close - Up : Parviz Sayyad's Checkpoint 258 Suitcase 261 Close - Up : Atom Egoyan's Next of Kin 262 Close - Up : Mitra ...
... on Chile 279 Film as Performance 282 Close - Up : Atom Egoyan's Films as Performance of Identity 283 Appendixes 289 Notes 295 Bibliography Index 317 349 Acknowledgments_ OVER THE COURSE of the half decade that it X CONTENTS.
... Egoyan , Hanna Elias , Shirin Etessam , Jalal Fa- temi , Hamid Rahmanian , Joris Ivens , Erica Jordan , Ann Kaneko , Kuch Nai Collective , Kamshad Kushan , Marceline Loridan , Ara Madzounian , Joan Mandel , Mai Masri , Jonas Mekas ...
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 | |