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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... Tangos : Exile of Gardel Close - Up : Amir Naderi's Manhattan by Numbers Close - Up : Atom Egoyan's Calendar Letter - Films Close - Up : Jonas Mekas 132 133 134 136 141 141 Close - Up : Chris Marker 146 5. Chronotopes of Imagined ...
... Tangos : Exile of Gardel . 9. Prohibition against epistolary communication . Unable to write letters , Chantal Akerman compulsively eats spoonfuls of sugar from a bag in Je Tu Il Elle . 109 112 10. Epistolarity as performative ...
... Tangos : Exile of Gardel , 1985 ) or to the career of individual filmmakers ( such as Atom Egoyan , Jonas Mekas , Mira Nair , and Miguel Littín ) , which contex- tualize their lives and times for a better understanding of their films ...
... Tangos : Exile of Gardel ( 1985 ) , and Prajna Parasher's Exile and Displacement ( 1992 ) . More often , however , the theory must be discovered and defined as the film moves toward reception , by marketers , reviewers , critics , and ...
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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 |