An Accented Cinema: Exilic and Diasporic FilmmakingPrinceton University Press, 5 jun 2018 - 392 pagina's In 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. |
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... Close - Up : Middle Eastern and North African Filmmakers Accented Style 15 17 17 19 22 22 26 26 28 30 31 33 Authorship and Autobiographical Inscription Close - Up : Atom Egoyan's Accented ... Close - Up : Trinh T. Minh - ha Close Contents.
Exilic and Diasporic Filmmaking Hamid Naficy. Close - Up : Trinh T. Minh - ha Close - Up : Marva Nabili's Nightsongs Iranian Accented Film Production and Reception Interstitial Production Close - Up ... Close - Up : Yilmaz Güney viii ...
... Close - Up : Tevfik Baser Close - Up : Yilmaz Arslan's Passages Iranian Filmmakers in Europe and the United States Close - Up : Sohrab Shahid Saless 191 191 193 197 199 199 Thirdspace Play of Open and Closed Chronotopes Close - Up ...
... Close - Up : Miguel Littín's General Statement 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 ...
... up with her transla- tion and with the ongoing film and its subtitles , I was forced to take notes hurriedly in ... close - up sections throughout . Significantly , what occurred in the MK2 screening room involved Introduction.
Inhoudsopgave
3 | |
10 | |
2 Interstitial and Artisanal Mode of Production | 40 |
3 Collective Mode of Production | 63 |
4 Epistolarity and Epistolary Narratives | 101 |
5 Chronotopes of Imagined Homeland | 152 |
Claustrophobia Contemporaneity | 188 |
7 Journeying Border Crossing and Identity Crossing | 222 |
Appendixes | 289 |
Notes | 295 |
Bibliography | 317 |
Index | 349 |