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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... liminal , and politicized structures of feeling ; interstitial and collective modes of production ; and inscription of the biographical , social , and cinematic ( dis ) location of the filmmakers . Accented films are interstitial ...
... liminal subjec- tivity and interstitial location in society and the film industry . What consti- tutes the accented style is the combination and intersection of these variations and similarities . Accented filmmakers came to live and ...
... liminal period of displacement , all things in their lives not only in relationship to the homeland but also in ... liminality characterized by oscilla- tion between the extremes . It is a slipzone of anxiety and imperfection , where ...
... liminality and interstitiality may become passionate sources of creativity and dynamism that produce in literature and cinema the likes of James Joyce and Marguerite Duras , Joseph Conrad and Fernando Solanas , Ezra Pound and Trinh T ...
... liminal and interstitial location of the filmmakers has on their work . Occa- sionally , such a theory is explicitly embedded in the films themselves , such as in Jonas Mekas's Lost , Lost , Lost ( 1949–76 ) , Fernando Solanas's Tangos ...
Inhoudsopgave
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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 |