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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... Structures of Feeling Third Cinema Aesthetics Border Effects , Border Writing Themes Postcolonial Ethnic and Identity Filmmakers Mapping Accented Cinema's Corpus Close - Up : Middle Eastern and North African Filmmakers Accented Style 15 ...
... structures or fictions within their films ; they also are empirical subjects ... structure ; amphibolic , doubled , crossed , and lost characters ; subject ... feeling ; interstitial and collective modes of production ; and inscription ...
... structure ; character and character devel- opment ; subject matter , theme , and plot ; structures of feeling of exile ; film- maker's biographical and sociocultural location ; and the film's mode of produc- tion , distribution ...
... structures of feeling of the filmmakers them- selves as displaced subjects and by the traditions of exilic and diasporic cultural productions that preceded them . From the cinematic traditions they acquire one set of voices , and from ...
... Structures of Feeling Since the accented style is not a programmatic , already formed style , one may speak of it as an emergent “ structure of feeling , " which , according to Raymond Williams , is not a fixed institution , formation ...
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 |