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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... Mode of Production in Exilic Cinema , " in Home , Exile , Homeland : Film , Media , and the Politics of Place , ed . Hamid Naficy ( London : Routledge , 1999 ) , 125–47 . TO MY MOTHER , FATHER AND THE REST OF THE Copyright Page.
... Mode of Production 33 36 40 Postindustrial Mode of Production Accented Mode of Production Interstitial Mode of Production 40 43 46 Multisource Funding and Coproduction Close - Up : Atom Egoyan Close - Up : Michel Khleifi Distribution to ...
... Production and Reception Interstitial Production Close - Up : Ghasem Ebrahimian's The Suitors Collective Exhibition ... Mode of Address 101 Communitarianism 105 Close - Up : Fernando Ezequiel “ Pino " Solanas 106 Close - Up : Chantal ...
... mode of production ( cinematic and otherwise ) , availability of fi- nancial resources , and the choices that individual filmmakers make as social and cinematic agents . Sometimes group style is formed by filmmakers who follow certain ...
... modes of production , which undermine the dominant production mode , and by narra- tive strategies , which subvert that mode's realistic treatment of time , space , and causality . It also signifies and signifies upon exile by ...
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 |