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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... deterritorialized peoples and their films share certain features , which in today's climate of lethal ethnic difference need to be considered , even emphasized . While stressing these features , the book continually engages with the ...
... deterritorialized conditions of the filmmakers . They signify and signify upon cinematic traditions by means of their artisanal and collective production modes , their aesthetics and politics of smallness and imperfection , and their ...
... deterritorialized , these films are deeply concerned with territory and territoriality . Their preoccupation with place is expressed in their open and closed space - time ( chronotopical ) representations . That of the homeland tends to ...
... deterritorialized , ” yet they continue to be in the grip of both the old and the new , the before and the after . Located in such a slipzone , they can be suffused with hybrid excess , or they may feel deeply deprived and divided ...
... deterritorialization . Such a shared accent must be discovered ( at least initially ) at the films ' recep- tion and articulated more by the critics than by the filmmakers . The components of the accented style , listed in Table A.1 ...
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 |