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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... Narratives 70 73 2333 74 74 81 83 87 95 101 Film - Letters 101 Mode of Address 101 Communitarianism 105 Close - Up : Fernando Ezequiel “ Pino " Solanas 106 Close - Up : Chantal Akerman 111 Inhibition and Prohibition 115 Close - Up ...
... narrative structure ; amphibolic , doubled , crossed , and lost characters ; subject matter and themes that involve journeying , historicity , identity , and displacement ; dysphoric , euphoric , nostal- gic , synaesthetic , liminal ...
... narrative system by its multivocal , multiauthorial , calligraphic , and free indirect discourses . Chapter 4 examines these and other issues in the context of three main types of epistolary films : film - letters , telephonic epistles ...
... narratives of Chinese - American films such as Wayne Wang's Eat a Bowl of Tea ( 1989 ) and The Joy Luck Club ( 1993 ) . The filmmakers ' task in this modality , in Stuart Hall's words , is " to discover , excavate , bring to light and ...
... narrative forms . One of the key purposes of this study is to identify and develop the most appropriate theory to account for the complexities , regularities , and inconsis- tencies of the films made in exile and diaspora , as well as ...
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 |