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An Accented Cinema : Exilic and Diasporic Filmmaking - Hamid Naficy

An Accented Cinema

Exilic and Diasporic Filmmaking

Paperback

Published: 29th April 2001
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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.

"[Naficy] does a wonderful job of describing and bringing to life works as yet unseen and, equally admirable, prompts a desire to return to more familiar cinematic texts. [His] prose is engaging, and often eloquent."--Joel Gordon, Arab Studies Journal

Acknowledgmentsp. xi
List of Illustrationsp. xiii
Introductionp. 3
Situating Accented Cinemap. 10
Accented Filmmakersp. 10
Exilic Filmmakersp. 11
Diasporic Filmmakersp. 13
Postcolonial Ethinic and Identity Filmmakersp. 15
Mapping Accented Cinema's Corpusp. 17
Close-Up: Middle Eastern and North African Filmmakersp. 17
The Stylistic Approachp. 19
Accented Stylep. 22
Language, Voice, Addressp. 22
Embedded Criticismp. 26
Accented Structures of Feelingp. 26
Tactile Opticsp. 28
Third Cinema Aestheticsp. 30
Border Effects, Border Writingp. 31
Themesp. 33
Authorship and Autobiographical Inscriptionp. 33
Close-Up: Atom Egoyan's Accented Stylep. 36
Interstitial and Artisanal Mode of Productionp. 40
Postindustrial Mode of Productionp. 40
Accented Mode of Productionp. 43
Interstitial Mode of Productionp. 46
Multisource Funding and Coproductionp. 56
Close-Up: Atom Egoyanp. 56
Close-Up: Michel Khleifip. 58
Distribution to Academic Institutionsp. 60
Close-Up: Women Make Moviesp. 60
Collective Mode of Productionp. 63
Ethnic Collectives: Asian Pacific American Film Collectivesp. 63
Close-Up: Nancy Tong and Christine Choy's In the Name of the Emperorp. 66
Close-Up: Mira Nair's Salaam Bombay!p. 68
Close-Up: Trinh T. Minh-hap. 70
Close-Up: Marva Nabili's Nightsongsp. 73
Iranian Accented Film Production and Receptionp. 74
Interstitial Productionp. 74
Close-Up: Ghasem Ebrahimian's The Suitorsp. 81
Collective Exhibition and Exile Festivalsp. 83
British Postcolonial Workshops and Collectivesp. 87
Beur Cinema in Francep. 95
Epistolarity and Epistolary Narrativesp. 101
Film-Lettersp. 101
Mode of Addressp. 101
Communitarianismp. 105
Close-Up: Fernando Ezequiel "Pino" Solanasp. 106
Close-Up: Chantal Akermanp. 111
Inhibition and Prohibitionp. 115
Close-Up: Elia Suleimanp. 116
Close-Up: Mona Hatoump. 118
Orality and Acousticityp. 120
Calligraphic Textsp. 122
Close-Up: Trinh T. Minh-ha's Surname Viet Given Name Namp. 123
Daughter-Textsp. 127
Telephonic Epistlesp. 132
Simultaneity, Multifocality, and Paranoiap. 132
Close-Up: Fernando Solanas's Tangos: Exile of Gardelp. 133
Close-Up: Amir Naderi's Manhattan by Numbersp. 134
Close-Up: Atom Egoyan's Calendarp. 136
Letter-Filmsp. 141
Close-Up: Jonas Mekasp. 141
Close-Up: Chris Markerp. 146
Chronotopes of Imagined Homelandp. 152
Homeland's Utopian Chronotopes: Boundlessness-Timelessnessp. 155
Naturep. 155
Close-Up: Gregory Nava's El Nortep. 156
Mountain, Monumentp. 160
Close-Up: Nizamettin Aric's A Song for Bekop. 161
Home Landp. 166
Close-Up: Michel Khleifi's Wedding in Galileep. 167
Housep. 169
Close-Up: Amos Gitai's Housep. 169
Close-Up: Andrei Tarkovskyp. 173
Close-Up: Atom Egoyan's The Adjusterp. 178
Homeland as Prisonp. 181
Close-Up: Yilmaz Guneyp. 181
Chronotopes of Life in Exile: Claustrophobia, Contemporaneityp. 188
Exile as Prisonp. 191
Turkish Films in Germanyp. 191
Close-Up: Tevfik Baserp. 193
Close-Up: Yilmaz Arslan's Passagesp. 197
Iranian Filmmakers in Europe and the United Statesp. 199
Close-Up: Sohrab Shahid Salessp. 199
Close-Up: Houchang Allahyari's Fear of Heightsp. 207
Close-Up: Erica Jordan and Shirin Etessam's Walls of Sandp. 208
Close-Up: Jonas Mekas's The Brigp. 210
Thirdspace Play of Open and Closed Chronotopesp. 212
Close-Up: Nina Menkes's The Great Sadness of Zoharap. 214
Close-Up: Joris Ivens's A Tale of the Windp. 216
Journeying, Border Crossing, and Identity Crossingp. 222
Journey and Journeyingp. 222
Home-Seeking Journeyp. 223
Journey of Homelessnessp. 225
Close-Up: Emir Kusturica's Time of the Gypsiesp. 226
Homecoming Journeyp. 229
Close-Up: Fernando Solanas's South and The Journeyp. 230
Close-Up: Ann Hui's Song of the Exilep. 233
Borders and Border Crossingsp. 237
Border and Chicano Filmsp. 238
Tunnelp. 240
Close-Up: Gregory Nava's El Nortep. 240
Seaport and Airportp. 243
Close-Up: Amir Naderi's The Runnerp. 243
Close-Up: Ghasem Ebrahimian's The Suitorsp. 246
Hotels and Motelsp. 248
Close-Up: Reza Allamehzadeh's The Guests of Hotel Astoriap. 249
Close-Up: Atom Egoyan's Speaking Partsp. 252
Close-Up: Caveh Zahedi's I Don't Hate Las Vegas Anymorep. 253
Trains and Busesp. 257
Close-Up: Parviz Sayyad's Checkpointp. 258
Suitcasep. 261
Close-Up: Atom Egoyan's Next of Kinp. 262
Close-Up: Mitra Tabrizian's The Third Womanp. 266
The Ethics and Politics of Performed Identityp. 269
Diegetic Stagingp. 271
Doppelgangers, Doubling, Duplicityp. 272
Self-Reflexivityp. 276
Self-Inscriptionp. 277
Close-Up: Miguel Littin's General Statement on Chilep. 279
Film as Performancep. 282
Close-Up: Atom Egoyan's Films as Performance of Identityp. 283
Appendixesp. 289
Notesp. 295
Bibliographyp. 317
Indexp. 349
Table of Contents provided by Syndetics. All Rights Reserved.

ISBN: 9780691043913
ISBN-10: 0691043914
Audience: Tertiary; University or College
Format: Paperback
Language: English
Number Of Pages: 392
Published: 29th April 2001
Publisher: Princeton University Press
Country of Publication: US
Dimensions (cm): 23.5 x 16.51  x 2.54
Weight (kg): 0.57