An Accented Cinema: Exilic and Diasporic Filmmaking

An Accented Cinema: Exilic and Diasporic Filmmaking

by Hamid Naficy
     
 

ISBN-10: 0691043914

ISBN-13: 9780691043913

Pub. Date: 04/09/2001

Publisher: Princeton University Press

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

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Overview

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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Product Details

ISBN-13:
9780691043913
Publisher:
Princeton University Press
Publication date:
04/09/2001
Pages:
368
Product dimensions:
6.22(w) x 9.26(h) x 0.84(d)

Table of Contents

Acknowledgments xi
List of Illustrations xiii
Introduction 3

1.Situating Accented Cinema 10
Accented Filmmakers 10
Exilic Filmmakers 11
Diasporic Filmmakers 13
Postcolonial Ethnic and Identity Filmmakers 15
Mapping Accented Cinema's Corpus 17
Close-Up: Middle Eastern and North African Filmmakers 17
The Stylistic Approach 19
Accented Style 22
Language, Voice, Address 22
Embedded Criticism 26
Accented Structures of Feeling 26
Tactile Optics 28
Third Cinema Aesthetics 30
Border Effects, Border Writing 31
Themes 33
Authorship and Autobiographical Inscription 33
Close-Up: Atom Egoyan's Accented Style 36

2.Interstitial and Artisanal Mode of Production 40
Postindustrial Mode of Production 40
Accented Mode of Production 43
Interstitial Mode of Production 46
Multisource Funding and Coproduction 56
Close-Up: Atom Egoyan 56
Close-Up: Michel Khlei 58
Distribution to Academic Institutions 60
Close-Up: Women Make Movies 60

3.Collective Mode of Production 63
Ethnic Collectives: Asian Pacific American Film Collectives 63
Close-Up: Nancy Tong and Christine Choy's In the Name of the Emperor 66
Close-Up: Mira Nair's Salaam Bombay! 68
Close-Up: Trinh T. Minh-ha 70
Close-Up: Marva Nabili's Nightsongs 73
Iranian Accented Film Production and Reception 74
Interstitial Production 74
Close-Up: Ghasem Ebrahimian's The Suitors 81
Collective Exhibition and Exile Festivals 83
British Postcolonial Workshops and Collectives 87
Beur Cinema in France 95

4.Epistolarity and Epistolary Narratives 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: Elia Suleiman 116
Close-Up: Mona Hatoum 118
Orality and Acousticity 120
Calligraphic Texts 122
Close-Up: Trinh T. Minh-ha's Surname Viet Given Name Nam 123
Daughter-Texts 127
Telephonic Epistles 132
Simultaneity, Multifocality, and Paranoia 132
Close-Up: Fernando Solanas's Tangos: Exile of Gardel 133
Close-Up: Amir Naderi's Manhattan by Numbers 134
Close-Up: Atom Egoyan's Calendar 136
Letter-Films 141
Close-Up: Jonas Mekas 141
Close-Up: Chris Marker 146

5.Chronotopes of Imagined Homeland 152
Homeland's Utopian Chronotopes: Boundlessness-Timelessness 155
Nature 155
Close-Up: Gregory Nava's El Norte 156
Mountain, Monument 160
Close-Up: Nizamettin Aric's A Song for Beko 161
Home Land 166
Close-Up: Michel Khleifi's Wedding in Galilee 167
House 169
Close-Up: Amos Gitai's House 169
Close-Up: Andrei Tarkovsky 173
Close-Up: Atom Egoyan's The Adjuster 178
Homeland as Prison 181
Close-Up: Yilmaz Güney 181

6.Chronotopes of Life in Exile: Claustrophobia, Contemporaneity 188
Exile as Prison 191
Turkish Films in Germany 191
Close-Up: Tevfik Baser 193
Close-Up: Yilmaz Arslan's Passages 197
Iranian Filmmakers in Europe and the United States 199
Close-Up: Sohrab Shahid Saless 199
Close-Up: Houchang Allahyari's Fear of Heights 207
Close-Up: Erica Jordan and Shirin Etessam 's Walls of Sand 208
Close-Up: Jonas Mekas's The Brig 210
Thirdspace Play of Open and Closed Chronotopes 212
Close-Up: Nina Menkes's The Great Sadness of Zohara 214
Close-Up: Joris Ivens's A Tale of the Wind 216

7.Journeying, Border Crossing, and Identity Crossing 222
Journey and Journeying 222
Home-Seeking Journey 223
Journey of Homelessness 225
Close-Up: Emir Kusturica's Time of the Gypsies 226
Homecoming Journey 229
Close-Up: Fernando Solanas's South and The Journey 230
Close-Up: Ann Hui's Song of the Exile 233
Borders and Border Crossings 237
Border and Chicano Films 238
Tunnel 240
Close-Up: Gregory Nava's El Norte 240
Seaport and Airport 243
Close-Up: Amir Naderi's The Runner 243
Close-Up: Ghasem Ebrahimian's The Suitors 246
Hotels and Motels 248
Close-Up: Reza Allamehzadeh's The Guests of Hotel Astoria 249
Close-Up: Atom Egoyan's Speaking Parts 252
Close-Up: Caveh Zahedi's I Don't Hate Las Vegas Anymore 253
Trains and Buses 257
Close-Up: Parviz Sayyad's Checkpoint 258
Suitcase 261
Close-Up: Atom Egoyan's Next of Kin 262
Close-Up: Mitra Tabrizian's The Third Woman 266
The Ethics and Politics of Performed Identity 269
Diegetic Staging 271
Doppelgangers, Doubling, Duplicity 272
Self-Refiexivity 276
Self-Inscription 277
Close-Up: Miguel Littýn's General Statement on Chile 279
Film as Performance 282
Close-Up: Atom Egoyan's Films as Performance of Identity 283

Appendixes 289
Note 295
Bibliography 317

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