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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... Letters 101 Mode of Address 101 Communitarianism 105 Close - Up : Fernando Ezequiel “ Pino " Solanas 106 Close - Up ... Letter - Films Close - Up : Jonas Mekas 132 133 134 136 141 141 Close - Up : Chris Marker 146 5. Chronotopes of ...
... Letters and papers pouring down the stairwell during a “ letter song " in Fernando Solanas's Tangos : Exile of Gardel . 9. Prohibition against epistolary communication . Unable to write letters , Chantal Akerman compulsively eats ...
... letters , telephonic epistles , and letter - films . Despite the recent overcelebration of the extranational and extraterritorial cyber communities created by computer connectivity , interactivity , and band- width , and the ...
... letters she has received from her mother . The audience may assume that these are the voices of the mothers ( complete coincidence among the three accents ) , but since neither of the films declares whose voice we are hearing , the ...
... Letter from Siberia ( 1958 ) and Sunless ( 1982 ) ; or they may be ac- cented voices whose identity is not firmly ... letters often contain the characters ' direct address ( usually in first- person singular ) , the indirect discourse ...
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 |