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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... audiences in Western film festivals and commercial theaters and on television . This book is centrally concerned with the films that postcolonial , Third World filmmakers have made in their Western sojourn since the 1960s , but several ...
... audiences , many of whom are simi- larly transnational , whose desires , aspirations , and fears they express . However , displacement creates its own peculiar spectatorial environment that produces different demands and expectations ...
... audience . For the films gradually moved away from the primitive cinema's conception of a collective " audience " to the ... audiences , with little sustained success or with mixed results . The most extended and successful efforts were ...
... audiences to read them in terms of their ethnic content and identity politics more than their authorial vision and stylistic innovations . Several postcolonial ethnic and identity filmmakers are discussed individually and collectively ...
... audiences . Through funding , festival program- ming , and marketing strategy , these filmmakers are often encouraged to engage in " salvage filmmaking , ” that is , making films that serve to preserve and recover cultural and ethnic ...
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 |