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. |
Vanuit het boek
Resultaten 1-5 van 68
... film for distribution . Made by the best - known new director to emerge since the revolution of 1979 , the film had been banned in the director's home country , Iran , for its theme of love , in essence a ménage à trois . My friend ...
... films ' narratives is their epistolar- ity , involving the use of the formal ... films . Epistolarity is also counterhegemonic because it challenges the authority ... film - letters , telephonic epistles , and letter - films . Despite the ...
... films in twenty - seven receiving countries , mostly in Europe and North America . In terms of output , Iranian filmmakers topped the list ( with 307 films ) ... feature fiction films , and from animated films to documentaries to avant - garde ...
... films made in exile and diaspora , as well as for the impact that the liminal and interstitial location of the filmmakers has on their work . Occa- sionally , such a theory is explicitly embedded in the films ... film moves toward reception , ...
... films — a division based chiefly on the varied relationship of the films and their makers to existing or imagined homeplaces . Now I draw a further stylistic distinction , between feature and experimental films . The accented fea- ture ...
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 |