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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... 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 4 ...
... 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 : Houchang Allahyari's Fear of Heights Close - Up : Erica Jordan and ...
... Iranian Exile Cinema , which is subtitled " The World Is My Home , " Gothenburg , Sweden , 1996 . 86 6. " Street riots " in Handsworth Songs . 88 7. Self - reflexive mode of address . Interviewer questions filmmakers Jayce Salloum and ...
... Iran , for its theme of love , in essence a ménage à trois . My friend Azadeh Kian and I were the only spectators in the comfortably appointed screening room . Perhaps partly to avoid the Iranian censors , Makhmalbaf had shot the film ...
... Iranian filmmaking in Europe and the United States . Attention to the specificity and situatedness of each displaced filmmaker , community , or formation is an im- portant safeguard against the temptation to engage in postmodernist ...
Inhoudsopgave
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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 |