Item Details

An Accented Cinema: Exilic and Diasporic Filmmaking

Hamid Naficy
Format
Book
Published
Princeton : Princeton University Press, c2001.
Language
English
ISBN
0691043922, 0691043914 (pbk. : alk. paper)
Contents
  • 1. Situating Accented Cinema 10
  • Accented Filmmakers 10
  • Exilic Filmmakers 11
  • Diasporic Filmmakers 13
  • Postcolonial Ethinic and Identity Filmmakers 15
  • Mapping Accented Cinema's Corpus 17
  • Close-Up: Middle Eastern and North African Filmmakers 17
  • 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 Khleifi 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 Guney 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
  • Ethics and Politics of Performed Identity 269
  • Diegetic Staging 271
  • Doppelgangers, Doubling, Duplicity 272
  • Self-Reflexivity 276
  • Self-Inscription 277
  • Close-Up: Miguel Littin's General Statement on Chile 279
  • Film as Performance 282
  • Close-Up: Atom Egoyan's Films as Performance of Identity 283.
Description
xv, 374 p. : ill. ; 24 cm.
Notes
Includes bibliographical references (p. [317]-348) and index.
Technical Details
  • Access in Virgo Classic

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    a| An Accented cinema : b| exilic and diasporic filmmaking / c| Hamid Naficy.
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    g| 1. t| Situating Accented Cinema g| 10 -- t| Accented Filmmakers g| 10 -- t| Exilic Filmmakers g| 11 -- t| Diasporic Filmmakers g| 13 -- t| Postcolonial Ethinic and Identity Filmmakers g| 15 -- t| Mapping Accented Cinema's Corpus g| 17 -- t| Close-Up: Middle Eastern and North African Filmmakers g| 17 -- t| Stylistic Approach g| 19 -- t| Accented Style g| 22 -- t| Language, Voice, Address g| 22 -- t| Embedded Criticism g| 26 -- t| Accented Structures of Feeling g| 26 -- t| Tactile Optics g| 28 -- t| Third Cinema Aesthetics g| 30 -- t| Border Effects, Border Writing g| 31 -- t| Themes g| 33 -- t| Authorship and Autobiographical Inscription g| 33 -- t| Close-Up: Atom Egoyan's Accented Style g| 36 -- g| 2. t| Interstitial and Artisanal Mode of Production g| 40 -- t| Postindustrial Mode of Production g| 40 -- t| Accented Mode of Production g| 43 -- t| Interstitial Mode of Production g| 46 -- t| Multisource Funding and Coproduction g| 56 -- t| Close-Up: Atom Egoyan g| 56 -- t| Close-Up: Michel Khleifi g| 58 -- t| Distribution to Academic Institutions g| 60 -- t| Close-Up: Women Make Movies g| 60 -- g| 3. t| Collective Mode of Production g| 63 -- t| Ethnic Collectives: Asian Pacific American Film Collectives g| 63 -- t| Close-Up: Nancy Tong and Christine Choy's In the Name of the Emperor g| 66 -- t| Close-Up: Mira Nair's Salaam Bombay! g| 68 -- t| Close-Up: Trinh T. Minh-ha g| 70 -- t| Close-Up: Marva Nabili's Nightsongs g| 73 -- t| Iranian Accented Film Production and Reception g| 74 -- t| Interstitial Production g| 74 -- t| Close-Up: Ghasem Ebrahimian's The Suitors g| 81 -- t| Collective Exhibition and Exile Festivals g| 83 -- t| British Postcolonial Workshops and Collectives g| 87 -- t| Beur Cinema in France g| 95 -- g| 4. t| Epistolarity and Epistolary Narratives g| 101 -- t| Film-Letters g| 101 -- t| Mode of Address g| 101 -- t| Communitarianism g| 105 -- t| Close-Up: Fernando Ezequiel "Pino" Solanas g| 106 -- t| Close-Up: Chantal Akerman g| 111 -- t| Inhibition and Prohibition g| 115 -- t| Close-Up: Elia Suleiman g| 116 -- t| Close-Up: Mona Hatoum g| 118 -- t| Orality and Acousticity g| 120 -- t| Calligraphic Texts g| 122 -- t| Close-Up: Trinh T. Minh-ha's Surname Viet Given Name Nam g| 123 -- t| Daughter-Texts g| 127 -- t| Telephonic Epistles g| 132 -- t| Simultaneity, Multifocality, and Paranoia g| 132 -- t| Close-Up: Fernando Solanas's Tangos: Exile of Gardel g| 133 -- t| Close-Up: Amir Naderi's Manhattan by Numbers g| 134 -- t| Close-Up: Atom Egoyan's Calendar g| 136 -- t| Letter-Films g| 141 -- t| Close-Up: Jonas Mekas g| 141 -- t| Close-Up: Chris Marker g| 146 -- g| 5. t| Chronotopes of Imagined Homeland g| 152 -- t| Homeland's Utopian Chronotopes: Boundlessness-Timelessness g| 155 -- t| Nature g| 155 -- t| Close-Up: Gregory Nava's El Norte g| 156 -- t| Mountain, Monument g| 160 -- t| Close-Up: Nizamettin Aric's A Song for Beko g| 161 -- t| Home Land g| 166 -- t| Close-Up: Michel Khleifi's Wedding in Galilee g| 167 -- t| House g| 169 -- t| Close-Up: Amos Gitai's House g| 169 -- t| Close-Up: Andrei Tarkovsky g| 173 -- t| Close-Up: Atom Egoyan's The Adjuster g| 178 -- t| Homeland as Prison g| 181 -- t| Close-Up: Yilmaz Guney g| 181 -- g| 6. t| Chronotopes of Life in Exile: Claustrophobia, Contemporaneity g| 188 -- t| Exile as Prison g| 191 -- t| Turkish Films in Germany g| 191 -- t| Close-Up: Tevfik Baser g| 193 -- t| Close-Up: Yilmaz Arslan's Passages g| 197 -- t| Iranian Filmmakers in Europe and the United States g| 199 -- t| Close-Up: Sohrab Shahid Saless g| 199 -- t| Close-Up: Houchang Allahyari's Fear of Heights g| 207 -- t| Close-Up: Erica Jordan and Shirin Etessam's Walls of Sand g| 208 -- t| Close-Up: Jonas Mekas's The Brig g| 210 -- t| Thirdspace Play of Open and Closed Chronotopes g| 212 -- t| Close-Up: Nina Menkes's The Great Sadness of Zohara g| 214 -- t| Close-Up: Joris Ivens's A Tale of the Wind g| 216 -- g| 7. t| Journeying, Border Crossing, and Identity Crossing g| 222 -- t| Journey and Journeying g| 222 -- t| Home-Seeking Journey g| 223 -- t| Journey of Homelessness g| 225 -- t| Close-Up: Emir Kusturica's Time of the Gypsies g| 226 -- t| Homecoming Journey g| 229 -- t| Close-Up: Fernando Solanas's South and The Journey g| 230 -- t| Close-Up: Ann Hui's Song of the Exile g| 233 -- t| Borders and Border Crossings g| 237 -- t| Border and Chicano Films g| 238 -- t| Tunnel g| 240 -- t| Close-Up: Gregory Nava's El Norte g| 240 -- t| Seaport and Airport g| 243 -- t| Close-Up: Amir Naderi's The Runner g| 243 -- t| Close-Up: Ghasem Ebrahimian's The Suitors g| 246 -- t| Hotels and Motels g| 248 -- t| Close-Up: Reza Allamehzadeh's The Guests of Hotel Astoria g| 249 -- t| Close-Up: Atom Egoyan's Speaking Parts g| 252 -- t| Close-Up: Caveh Zahedi's I Don't Hate Las Vegas Anymore g| 253 -- t| Trains and Buses g| 257 -- t| Close-Up: Parviz Sayyad's Checkpoint g| 258 -- t| Suitcase g| 261 -- t| Close-Up: Atom Egoyan's Next of Kin g| 262 -- t| Close-Up: Mitra Tabrizian's The Third Woman g| 266 -- t| Ethics and Politics of Performed Identity g| 269 -- t| Diegetic Staging g| 271 -- t| Doppelgangers, Doubling, Duplicity g| 272 -- t| Self-Reflexivity g| 276 -- t| Self-Inscription g| 277 -- t| Close-Up: Miguel Littin's General Statement on Chile g| 279 -- t| Film as Performance g| 282 -- t| Close-Up: Atom Egoyan's Films as Performance of Identity g| 283.
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    a| Motion pictures z| Developing countries.
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    a| Intercultural communication in motion pictures.
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    a| PN1993.5 .D44 N34 2001 w| LC i| X004527639 l| BY-REQUEST m| CLEMONS t| BOOK
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    a| PN1993.5 .D44 N34 2001 w| LC i| X030338379 l| WITHDRAWN m| CLEMONS t| BOOK

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