Accented Cinema Exilic and Diasporic Filmmaking

ISBN-10: 0691043914
ISBN-13: 9780691043913
Edition: 2001
Authors: Hamid Naficy
List price: $45.00 Buy it from $11.98
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Description: InAn 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  More...

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Book details

List price: $45.00
Copyright year: 2001
Publisher: Princeton University Press
Publication date: 4/29/2001
Binding: Paperback
Pages: 392
Size: 6.50" wide x 9.25" long x 1.00" tall
Weight: 1.540

InAn 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.

Acknowledgments
List of Illustrations
Introduction
Situating Accented Cinema
Accented Filmmakers
Exilic Filmmakers
Diasporic Filmmakers
Postcolonial Ethinic and Identity Filmmakers
Mapping Accented Cinema's Corpus
Close-Up: Middle Eastern and North African Filmmakers
The Stylistic Approach
Accented Style
Language, Voice, Address
Embedded Criticism
Accented Structures of Feeling
Tactile Optics
Third Cinema Aesthetics
Border Effects, Border Writing
Themes
Authorship and Autobiographical Inscription
Close-Up: Atom Egoyan's Accented Style
Interstitial and Artisanal Mode of Production
Postindustrial Mode of Production
Accented Mode of Production
Interstitial Mode of Production
Multisource Funding and Coproduction
Close-Up: Atom Egoyan
Close-Up: Michel Khleifi
Distribution to Academic Institutions
Close-Up: Women Make Movies
Collective Mode of Production
Ethnic Collectives: Asian Pacific American Film Collectives
Close-Up: Nancy Tong and Christine Choy's In the Name of the Emperor
Close-Up: Mira Nair's Salaam Bombay!
Close-Up: Trinh T. Minh-ha
Close-Up: Marva Nabili's Nightsongs
Iranian Accented Film Production and Reception
Interstitial Production
Close-Up: Ghasem Ebrahimian's The Suitors
Collective Exhibition and Exile Festivals
British Postcolonial Workshops and Collectives
Beur Cinema in France
Epistolarity and Epistolary Narratives
Film-Letters
Mode of Address
Communitarianism
Close-Up: Fernando Ezequiel "Pino" Solanas
Close-Up: Chantal Akerman
Inhibition and Prohibition
Close-Up: Elia Suleiman
Close-Up: Mona Hatoum
Orality and Acousticity
Calligraphic Texts
Close-Up: Trinh T. Minh-ha's Surname Viet Given Name Nam
Daughter-Texts
Telephonic Epistles
Simultaneity, Multifocality, and Paranoia
Close-Up: Fernando Solanas's Tangos: Exile of Gardel
Close-Up: Amir Naderi's Manhattan by Numbers
Close-Up: Atom Egoyan's Calendar
Letter-Films
Close-Up: Jonas Mekas
Close-Up: Chris Marker
Chronotopes of Imagined Homeland
Homeland's Utopian Chronotopes: Boundlessness-Timelessness
Nature
Close-Up: Gregory Nava's El Norte
Mountain, Monument
Close-Up: Nizamettin Aric's A Song for Beko
Home Land
Close-Up: Michel Khleifi's Wedding in Galilee
House
Close-Up: Amos Gitai's House
Close-Up: Andrei Tarkovsky
Close-Up: Atom Egoyan's The Adjuster
Homeland as Prison
Close-Up: Yilmaz Guney
Chronotopes of Life in Exile: Claustrophobia, Contemporaneity
Exile as Prison
Turkish Films in Germany
Close-Up: Tevfik Baser
Close-Up: Yilmaz Arslan's Passages
Iranian Filmmakers in Europe and the United States
Close-Up: Sohrab Shahid Saless
Close-Up: Houchang Allahyari's Fear of Heights
Close-Up: Erica Jordan and Shirin Etessam's Walls of Sand
Close-Up: Jonas Mekas's The Brig
Thirdspace Play of Open and Closed Chronotopes
Close-Up: Nina Menkes's The Great Sadness of Zohara
Close-Up: Joris Ivens's A Tale of the Wind
Journeying, Border Crossing, and Identity Crossing
Journey and Journeying
Home-Seeking Journey
Journey of Homelessness
Close-Up: Emir Kusturica's Time of the Gypsies
Homecoming Journey
Close-Up: Fernando Solanas's South and The Journey
Close-Up: Ann Hui's Song of the Exile
Borders and Border Crossings
Border and Chicano Films
Tunnel
Close-Up: Gregory Nava's El Norte
Seaport and Airport
Close-Up: Amir Naderi's The Runner
Close-Up: Ghasem Ebrahimian's The Suitors
Hotels and Motels
Close-Up: Reza Allamehzadeh's The Guests of Hotel Astoria
Close-Up: Atom Egoyan's Speaking Parts
Close-Up: Caveh Zahedi's I Don't Hate Las Vegas Anymore
Trains and Buses
Close-Up: Parviz Sayyad's Checkpoint
Suitcase
Close-Up: Atom Egoyan's Next of Kin
Close-Up: Mitra Tabrizian's The Third Woman
The Ethics and Politics of Performed Identity
Diegetic Staging
Doppelgangers, Doubling, Duplicity
Self-Reflexivity
Self-Inscription
Close-Up: Miguel Littin's General Statement on Chile
Film as Performance
Close-Up: Atom Egoyan's Films as Performance of Identity
Appendixes
Notes
Bibliography
Index

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