An Accented Cinema: Exilic and Diasporic FilmmakingPrinceton University Press, 2001 - 374 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. Comparing these films to Hollywood films, Naficy calls them "accented." Their accent results from the displacement of the filmmakers, their alternative production modes, and their style. Accented cinema is an emerging genre, one that requires new sets of viewing skills on the part of audiences. Its significance continues to grow in terms of output, stylistic variety, cultural diversity, and social impact. This book offers the first comprehensive and global coverage of this genre while presenting a framework in which to understand its intricacies. |
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... Accented Cinema Accented Filmmakers xi xiii 3 10 10 Exilic Filmmakers Diasporic Filmmakers 11 13 Postcolonial Ethnic and Identity Filmmakers Mapping Accented Cinema's Corpus 15 17 Close - Up : Middle Eastern and North African Filmmakers ...
... cinema is considered universal and without accent , the films that diasporic and exilic subjects make are accented . As dis- cussed in chapter 1 , the accent emanates not so much from the accented speech of the diegetic characters as ...
... accented production modes and their politics and aesthetics . One of the most intriguing features of the films ' narratives is their epistolar- ity , involving the use of the formal properties of letters and telephony to create and ...
... accented films , identity is not a fixed essence but a process of becoming , even a performance of identity . In- deed , each accented film may be thought of as a performance of its author's identity . Because they are highly fluid ...
... accented cinema are discussed throughout . Although accented cinema is unprecedented in its cultural and linguistic diver- sity and its global dispersion , it has had predecessors , and immigrants every- where have been key players in ...
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