| |
| |
| 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 | |