An accented cinema: exilic and diasporic filmmaking
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Princeton [u.a.]
Princeton Univ. Press
2001
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | XV, 374 S. Ill. |
| ISBN: | 0691043922 0691043914 |
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Datensatz im Suchindex
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| adam_text | HamidNaficy
Exilic and Diasporic Filmmaking
PRINCETONUNIVERSITYPRESS • PRINCETONANDOXFORD
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
^Ghse Upf-Middk-Eastern-and-Nortb-AJrican-EUmmakers 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 Egpyan 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 Egpyan 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
yiii CONTENTS
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: Mono 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 Arif 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
CONTENTS ix
Homeland as Prison 181
Close-Up: Yilmaz Giiney 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
C/ose-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
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 am/The Journey 230
Close-Up: Ann Hut 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 Sayyads 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
X
Doppelgangers, Doubling, Duplicity
Self-Reflexivity
Self-Inscription
Close-Up: Miguel Littin s General Statement on Chile
Film as Performance
Close-Up: Atom Egoyan s Films as Performance of Identity
Appendixes
Notes
Bibliography
Index
CONTENTS
|
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| spelling | Naficy, Hamid 1944- Verfasser (DE-588)137000340 aut An accented cinema exilic and diasporic filmmaking Hamid Naficy Princeton [u.a.] Princeton Univ. Press 2001 XV, 374 S. Ill. txt rdacontent n rdamedia nc rdacarrier Filmkunst gtt Interculturele communicatie gtt Ontwikkelingslanden gtt Entwicklungsländer Film Intercultural communication in motion pictures Motion pictures Developing countries Film (DE-588)4017102-4 gnd rswk-swf Kulturkontakt (DE-588)4033569-0 gnd rswk-swf Exil (DE-588)4015959-0 gnd rswk-swf Entwicklungsländer (DE-588)4014954-7 gnd rswk-swf Entwicklungsländer (DE-588)4014954-7 g Film (DE-588)4017102-4 s Kulturkontakt (DE-588)4033569-0 s DE-604 Exil (DE-588)4015959-0 s Erscheint auch als Online-Ausgabe Naficy, Hamid An accented cinema Princeton ; Princeton University, 2018 978-0-691-18621-4 (DE-604)BV045878867 HEBIS Datenaustausch application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=009444150&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Naficy, Hamid 1944- An accented cinema exilic and diasporic filmmaking Filmkunst gtt Interculturele communicatie gtt Ontwikkelingslanden gtt Entwicklungsländer Film Intercultural communication in motion pictures Motion pictures Developing countries Film (DE-588)4017102-4 gnd Kulturkontakt (DE-588)4033569-0 gnd Exil (DE-588)4015959-0 gnd |
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| title | An accented cinema exilic and diasporic filmmaking |
| title_auth | An accented cinema exilic and diasporic filmmaking |
| title_exact_search | An accented cinema exilic and diasporic filmmaking |
| title_full | An accented cinema exilic and diasporic filmmaking Hamid Naficy |
| title_fullStr | An accented cinema exilic and diasporic filmmaking Hamid Naficy |
| title_full_unstemmed | An accented cinema exilic and diasporic filmmaking Hamid Naficy |
| title_short | An accented cinema |
| title_sort | an accented cinema exilic and diasporic filmmaking |
| title_sub | exilic and diasporic filmmaking |
| topic | Filmkunst gtt Interculturele communicatie gtt Ontwikkelingslanden gtt Entwicklungsländer Film Intercultural communication in motion pictures Motion pictures Developing countries Film (DE-588)4017102-4 gnd Kulturkontakt (DE-588)4033569-0 gnd Exil (DE-588)4015959-0 gnd |
| topic_facet | Filmkunst Interculturele communicatie Ontwikkelingslanden Entwicklungsländer Film Intercultural communication in motion pictures Motion pictures Developing countries Kulturkontakt Exil |
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