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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... Collective Mode of Production 63 Ethnic Collectives : Asian Pacific American Film Collectives 63 Close - Up : Nancy Tong and Christine Choy's In the Name of the Emperor Close - Up : Mira Nair's Salaam Bombay ! 66 68 Close - Up : Trinh T ...
... Collective Exhibition and Exile Festivals British Postcolonial Workshops and Collectives Beur Cinema in France 4. Epistolarity and Epistolary Narratives 70 73 2333 74 74 81 83 87 95 101 Film - Letters 101 Mode of Address 101 ...
... Collective , Kamshad Kushan , Marceline Loridan , Ara Madzounian , Joan Mandel , Mai Masri , Jonas Mekas , Nina Menkes , Smihi Moumen , Marva Nabili , Amir Naderi , Meena Nanji , Shirin Neshat , Rafigh Pooya , Prajna Pa- rasher , Walid ...
... collective modes of production ; and inscription of the biographical , social , and cinematic ( dis ) location of the filmmakers . Accented films are interstitial because they are created astride and in the interstices of social ...
... collective enunciation and reception — that is , with the manner in which poli- tics infuses all aspects of their existence . The study of a transnational cultural phenomenon such as the accented cinema is always haunted by the ...
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 |